REVIEWS
"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
"Eleanor Greenwood again gave a gutsy performance in "Ah, qual suon!/Deh perdona" from Nabucco.."
-Paul Ballam-Cross, Limelight Magazine
"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
