REVIEWS
“She was excellent right through… she really was the strength of Elisabetta.”
-Nance Grant - Soprano, speaking on Vocal Chords 3mbs Melbourne
"Dix and Greenwood are magnificent.
..After dominating much of the opera, Elisabetta disappears entirely after Act II's first scene. A pity, because Greenwood is stunning in this role, singing with power, agility and beautiful, bright tone. Strong acting skills enhance her evocative performance, leaving no doubt about Elisabetta's pride, anger, jealousy and intense indecision about signing the death warrant. Greenwood is a singer to watch."
-Patricia Maunder, Limelight Magazine
"Two tremendous sopranos meet for the confrontation between the hostile queens - the formidable Helena Dix as Mary and ascending star Eleanor Greenwood as Elizabeth... Greenwood's rich, penetrating and fleshy soprano is perfectly suited to Elizabeth's dark domination. That Greenwood appears to effortlessly embrace the pit, perform convincingly in every situation and convey great emotion to her audience, is a sign of an exciting career ahead."
-Paul Selar, Australian Arts Review
"This was a thrilling night at the Opera!.. So we had two fiery Queens and two Australian sopranos.. to bring them to life. They certainly did that and the fireworks were wonderful...
Helena Dix played the hapless Mary, who ends up being executed. Her pianissimo singing was beautiful, and she had the power to match Elizabeth. Her final aria was touching. Eleanor Greenwood has a more dramatic voice and was an imperious Elizabeth. Their confrontation was electric."
-Graham Ford, Graham Ford Reviews
“Eleanor Greenwood must be celebrated for her portrayal of Elizabeth I, she captivated the audience with her versatility and virtuosity. Her stellar performance captures the historical figure’s essence with incredible depth and emotion.”
-Roslyn Foo, Glamorazzi
"Eleanor Greenwood, as Elizabeth, threatened to run away with the show until Dix (possibly in response; it's a competitive art form) went up a notch. Elizabeth...opens the opera, and has much testing, florid music throughout. Greenwood, winner of the 2023 Opera Awards.. came to our attention during the recent Ring cycle in Bendigo, where she was a resounding Third Norn (I missed her Sieglinde in the third cycle).. Here, she sang ringingly, at her best in the prize fight with Mary, matching Dix in terms of volume, range and histrionics."
- Peter Rose, Australian Book Review
"Elisabetta was sung by Eleanor Greenwood, whom I was seeing on stage for the first time. She too was excellent. It is not an easy role; Elisabetta is bitter and conflicted, and with the exception of the verbal brawl with Maria there are limited dramatic opportunities. She suited the part admirably, and was totally at ease with the vocal demands. I hope we can see her in more roles.”
-Jim Breen
Classic Melbourne
"Eleanor Greenwood's punchy 'Abscheulicher' from Beethoven's Fidelio was a highlight...with her fierce on-stage intensity capturing the audience's attention immediately..."
-Paul Ballam-Cross, Limelight Magazine
"Eleanor Greenwood as Leonore in Beethoven's Fidelio could be opera's answer to pop star Alanis Morrisette..because of her theatrical flair for delivering white hot spitting rage. Her distinctive lower register complemented a lovely upper range."
-Gillian Wells, ArtsHub
"Featured artist, soprano Eleanor Greenwood then took the stage with a commanding performance of "Dich, teure Halle.." from Wagner's "Tanhauser"..
Her dramatic sensibility and fine singing of the Wagner aria and other items in the program demonstrated that she is a singer to watch in the future.. Eleanor Greenwood also gave superb performances of “Pace, Pace mio Dio” from Verdi’s “The Force Of Destiny” and “Regina Coeli” from Cavalleria Rusticana by Mascagni."
-Len Power, Canberra City News
"Eleanor Greenwood again gave a gutsy performance in "Ah, qual suon!/Deh perdona" from Nabucco.."
-Paul Ballam-Cross, Limelight Magazine
"Once more, Antoinette Halloran created a searing portrayal of Brünnhilde and there was another triumph for mezzo Deborah Humble, this time as the Valkyrie Waltraute. Also of note was sumptuous mezzo-turned-soprano Eleanor Greenwood (winner of the 2023 Opera Awards) as Third Norn. Greenwood sings Sieglinde in another cycle and a future as a lirico-spinto soprano looks secure."
-Deborah Jones, Limelight Magazine
"Dimity Shepherd, Jordan Kahler and Eleanor Greenwood all sang expressively and with generous tone, with Greenwood's resplendent vocal power being particularly impressive; she will be singing the role of Sieglinde in Cycle 3 - something worth a trip to Bendigo to hear, judging by her Third Norn."
-Heather Leviston, Classic Melbourne
"This Macbeth-like trio was well sung by Dimity Shepherd, Jordan Kahler and a very fine soprano contribution from Eleanor Greenwood."
Sandra Bowdler, Bachtrack
"The dark enshrouded fate-weaving Norns in their elegantly roped costumes - lusciously sung by Dimity Shepherd, Jordan Kahler and Eleanor Greenwood - got Götterdämmerung off to a superb start."
-Paul Selar, Australian Arts Review
"Of the Norns - Eleanor Greenwood (who sang Ortlinde in Die Walküre) - stood out.
Greenwood, who recently transitioned from mezzo soprano to soprano, has an enormous voice. Just last week she won the 2023 Opera Awards. Those attending the third cycle of the Ring will have an opportunity to hear Greenwood as Sieglinde."
-Peter Rose - 'A triumphant end to the Bendigo Ring' - Australian Book Review
"Although there is only one principal female role in Macbeth, Eleanor Greenwood impressed as the Lady in waiting, her warm, well-projected soprano and assured stage presence lending further substance to the role and scene."
-Heather Leviston, Classic Melbourne
"Among smaller roles, there is excellence aplenty... though fleeting, listen out for soprano Eleanor Greenwood cut through an entire musical tsunami as Lady Macbeth's lady in waiting."
-Paul Selar, Australian Arts Review
"In the trouser role, beautifully voiced Eleanor Greenwood gave total purpose to Annio, rendering him with sincerity and elevating his part aptly as he plants the seed in Tito's head to grant forgiveness for Sesto's crime..."
-Paul Selar, Limelight Magazine
"..Eleanor Greenwood in the other trouser role as Annio, the friend of Sesto, dazzled in the lovely first act duet 'Ah, perdona al primo affetto' in which Annio and Servilia declare their love for each other, then later in the second act when she pleads with Tito to spare her friend, Sesto."
-Bill Stephens, Canberra Critics Circle
"Eleanor Greenwood brought to the trouser role of Annio a sincerity and presence that was another highlight of this production. Her many exchanges in recitative with Carby were crisp and clearly enunciated, and her aria dissuading Sesto from leaving Rome, 'Torna di Tito a lato', was beautifully sung."
-Janet Wilson, Opera Magazine
"The quality of performance on show in Macbeth extends to featured roles. Eleanor Greenwood's clarion mezzo-soprano rings out in the thrilling act one climax "Schiudi, inferno." She later provides strong support, along with mellifluent bass Alex Pokryshevsky as the Doctor, in the sleepwalking scene."
-Simon Parris, Man in Chair
"Tate as Servilia and Greenwood playing Annio brought those special touches and unique interactions to this impressive cast."
-Canberra City News
"Excellent casting choices which included the moving, mysterious Waif from Eleanor Greenwood who scored in both of her vital scenes."
-(Wexford - MARIA) Opera Today
"Eleanor Greenwood shone in the tiny role of the Waif, a simpleton figure straight from Boris."
-Opera Magazine
"The eight spear-waving Walküren (Rosamund Illing, Eleanor Greenwood, Jordan Kahler, Olivia Cranwell, Naomi Flatman, Caroline Vercoe, Sally-Anne Russell, and Dimity Shepherd) sang with gusto, penetrating accuracy, and more than proved themselves worthy members of the closest Wagner ever got to a chorus line"
- Michael Shmith
“She was excellent right through… she really was the strength of Elisabetta.”
-Nance Grant - Soprano, speaking on Vocal Chords 3mbs Melbourne
"Dix and Greenwood are magnificent.
..After dominating much of the opera, Elisabetta disappears entirely after Act II's first scene. A pity, because Greenwood is stunning in this role, singing with power, agility and beautiful, bright tone. Strong acting skills enhance her evocative performance, leaving no doubt about Elisabetta's pride, anger, jealousy and intense indecision about signing the death warrant. Greenwood is a singer to watch."
-Patricia Maunder, Limelight Magazine
"Two tremendous sopranos meet for the confrontation between the hostile queens - the formidable Helena Dix as Mary and ascending star Eleanor Greenwood as Elizabeth... Greenwood's rich, penetrating and fleshy soprano is perfectly suited to Elizabeth's dark domination. That Greenwood appears to effortlessly embrace the pit, perform convincingly in every situation and convey great emotion to her audience, is a sign of an exciting career ahead."
-Paul Selar, Australian Arts Review
"This was a thrilling night at the Opera!.. So we had two fiery Queens and two Australian sopranos.. to bring them to life. They certainly did that and the fireworks were wonderful...
Helena Dix played the hapless Mary, who ends up being executed. Her pianissimo singing was beautiful, and she had the power to match Elizabeth. Her final aria was touching. Eleanor Greenwood has a more dramatic voice and was an imperious Elizabeth. Their confrontation was electric."
-Graham Ford, Graham Ford Reviews
“Eleanor Greenwood must be celebrated for her portrayal of Elizabeth I, she captivated the audience with her versatility and virtuosity. Her stellar performance captures the historical figure’s essence with incredible depth and emotion.”
-Roslyn Foo, Glamorazzi
"Eleanor Greenwood, as Elizabeth, threatened to run away with the show until Dix (possibly in response; it's a competitive art form) went up a notch. Elizabeth...opens the opera, and has much testing, florid music throughout. Greenwood, winner of the 2023 Opera Awards.. came to our attention during the recent Ring cycle in Bendigo, where she was a resounding Third Norn (I missed her Sieglinde in the third cycle).. Here, she sang ringingly, at her best in the prize fight with Mary, matching Dix in terms of volume, range and histrionics."
- Peter Rose, Australian Book Review
"Elisabetta was sung by Eleanor Greenwood, whom I was seeing on stage for the first time. She too was excellent. It is not an easy role; Elisabetta is bitter and conflicted, and with the exception of the verbal brawl with Maria there are limited dramatic opportunities. She suited the part admirably, and was totally at ease with the vocal demands. I hope we can see her in more roles.”
-Jim Breen
Classic Melbourne
"Eleanor Greenwood's punchy 'Abscheulicher' from Beethoven's Fidelio was a highlight...with her fierce on-stage intensity capturing the audience's attention immediately..."
-Paul Ballam-Cross, Limelight Magazine
"Eleanor Greenwood as Leonore in Beethoven's Fidelio could be opera's answer to pop star Alanis Morrisette..because of her theatrical flair for delivering white hot spitting rage. Her distinctive lower register complemented a lovely upper range."
-Gillian Wells, ArtsHub
"Featured artist, soprano Eleanor Greenwood then took the stage with a commanding performance of "Dich, teure Halle.." from Wagner's "Tanhauser"..
Her dramatic sensibility and fine singing of the Wagner aria and other items in the program demonstrated that she is a singer to watch in the future.. Eleanor Greenwood also gave superb performances of “Pace, Pace mio Dio” from Verdi’s “The Force Of Destiny” and “Regina Coeli” from Cavalleria Rusticana by Mascagni."
-Len Power, Canberra City News
"Eleanor Greenwood again gave a gutsy performance in "Ah, qual suon!/Deh perdona" from Nabucco.."
-Paul Ballam-Cross, Limelight Magazine
"Once more, Antoinette Halloran created a searing portrayal of Brünnhilde and there was another triumph for mezzo Deborah Humble, this time as the Valkyrie Waltraute. Also of note was sumptuous mezzo-turned-soprano Eleanor Greenwood (winner of the 2023 Opera Awards) as Third Norn. Greenwood sings Sieglinde in another cycle and a future as a lirico-spinto soprano looks secure."
-Deborah Jones, Limelight Magazine
"Dimity Shepherd, Jordan Kahler and Eleanor Greenwood all sang expressively and with generous tone, with Greenwood's resplendent vocal power being particularly impressive; she will be singing the role of Sieglinde in Cycle 3 - something worth a trip to Bendigo to hear, judging by her Third Norn."
-Heather Leviston, Classic Melbourne
"This Macbeth-like trio was well sung by Dimity Shepherd, Jordan Kahler and a very fine soprano contribution from Eleanor Greenwood."
Sandra Bowdler, Bachtrack
"The dark enshrouded fate-weaving Norns in their elegantly roped costumes - lusciously sung by Dimity Shepherd, Jordan Kahler and Eleanor Greenwood - got Götterdämmerung off to a superb start."
-Paul Selar, Australian Arts Review
"Of the Norns - Eleanor Greenwood (who sang Ortlinde in Die Walküre) - stood out.
Greenwood, who recently transitioned from mezzo soprano to soprano, has an enormous voice. Just last week she won the 2023 Opera Awards. Those attending the third cycle of the Ring will have an opportunity to hear Greenwood as Sieglinde."
-Peter Rose - 'A triumphant end to the Bendigo Ring' - Australian Book Review
"Although there is only one principal female role in Macbeth, Eleanor Greenwood impressed as the Lady in waiting, her warm, well-projected soprano and assured stage presence lending further substance to the role and scene."
-Heather Leviston, Classic Melbourne
"Among smaller roles, there is excellence aplenty... though fleeting, listen out for soprano Eleanor Greenwood cut through an entire musical tsunami as Lady Macbeth's lady in waiting."
-Paul Selar, Australian Arts Review
"In the trouser role, beautifully voiced Eleanor Greenwood gave total purpose to Annio, rendering him with sincerity and elevating his part aptly as he plants the seed in Tito's head to grant forgiveness for Sesto's crime..."
-Paul Selar, Limelight Magazine
"..Eleanor Greenwood in the other trouser role as Annio, the friend of Sesto, dazzled in the lovely first act duet 'Ah, perdona al primo affetto' in which Annio and Servilia declare their love for each other, then later in the second act when she pleads with Tito to spare her friend, Sesto."
-Bill Stephens, Canberra Critics Circle
"Eleanor Greenwood brought to the trouser role of Annio a sincerity and presence that was another highlight of this production. Her many exchanges in recitative with Carby were crisp and clearly enunciated, and her aria dissuading Sesto from leaving Rome, 'Torna di Tito a lato', was beautifully sung."
-Janet Wilson, Opera Magazine
"The quality of performance on show in Macbeth extends to featured roles. Eleanor Greenwood's clarion mezzo-soprano rings out in the thrilling act one climax "Schiudi, inferno." She later provides strong support, along with mellifluent bass Alex Pokryshevsky as the Doctor, in the sleepwalking scene."
-Simon Parris, Man in Chair
"Tate as Servilia and Greenwood playing Annio brought those special touches and unique interactions to this impressive cast."
-Canberra City News
"Excellent casting choices which included the moving, mysterious Waif from Eleanor Greenwood who scored in both of her vital scenes."
-(Wexford - MARIA) Opera Today
"Eleanor Greenwood shone in the tiny role of the Waif, a simpleton figure straight from Boris."
-Opera Magazine
"The eight spear-waving Walküren (Rosamund Illing, Eleanor Greenwood, Jordan Kahler, Olivia Cranwell, Naomi Flatman, Caroline Vercoe, Sally-Anne Russell, and Dimity Shepherd) sang with gusto, penetrating accuracy, and more than proved themselves worthy members of the closest Wagner ever got to a chorus line"
- Michael Shmith