![recent press
Barocke Harmonie: Forum Alte Musik”
“Sopranistin Lydia Brotherton, der dritte Gast, betörte mit weicher, klarer Stimme solistisch...”
Stephanie Knauer, Augsburger Allgemeine, 6.12.2011
Ensemble Phoenix Munich
Rose of Sharon: 100 Years of American Music, 1770-1870
“The Ensemble Phoenix’s more contemplative reading [of William Walker’s Wondrous Love] intersperses Lydia Brotherton’s lovely soprano solos with chaste harmonizations and a brief instrumental interlude.
The Ensemble Phoenix gives a model performance of Benjamin Franklin White’s “Morning Trumpet” [...] with Ms. Brotherton taking the melody sweetly. [...] A sheaf of Shaker spirituals offers two delectable solos: “O Love, Sweet Love,” performed by Deborah Rentz-Moore, a mezzo-soprano, and “Stubborn Oak,” by Ms. Brotherton.”
James R. Oestreich, New York Times, 28.7.2011
“William Walker’s Wondrous Love, featuring lovely solo singing by soprano Lydia Brotherton and tasteful instrumental support, may well be the high point of the album...](Press_files/shapeimage_1.png)
Stephen Foster is represented by Hard Times come
again no more in another star turn by Brotherton...”
Craig Zeichner, Ariama, 3.5.2011
“Neben den klaren, deutlich, ensemblefähigen Stimmen
der Sopranistin Lydia Brotherton und der Mezzosopranistin
Deborah Rentz-Moore...”
Matthias Lange, Klavier.de, 22.5.2011
La Cetra Barockorchesters Basel and Schola Cantorum Basiliensis Vivaldi, Juditha triumphans
"[Als Holofernes Diener Vagaus]...Ebenso Lydia Brotherton mit ihren leichtfüssigen Verzierungen..."
Christian Fluri, Basellandschaftliche Zeitung, 7.3.2011
Boston Early Music Festival Orchestra
Actéon & La Pierre Philosophale
“Nymphes...Lydia Brotherton, Amanda Forsythe - sing with exquisite style....”
Hugh Canning, The Classical Review, 7.2.2011 “The soloists here aren’t afraid to sing out freely
and warmly, inflecting the text, shaping the musical lines... In a brief duet, Lydia Brotherton (Daphné) and Mireille Lebel (Hyalé) are ideally matched, their timbres complementary yet easily distinguishable.”
Stephen Francis Vasta, Opera News, Vol. 75, No. 10, April 2011
Ensemble Phoenix Munich at the Prague Spring Festival
Rose of Sharon: 100 Years of American Music, 1770-1870
“The evening was based on perfect solo performances. The crystal clear soprano of Lydia Brotherton was faultless...”
Lukas Vytlacil, Musical Magazine/Hudebni Rozhledy, 1.7.2010
Blue Heron Choir, “The Virgin and the Singer”
Ockeghem, Ma maistresse
“In Ma maistresse itself — rendered with alabaster gloss by soprano Lydia Brotherton — when the singer refers to his inamorata as ‘The mortal enemy of my desire,’ one got a sense of the sublimation working in all directions.”
Matthew Guerrieri, Boston Globe, 15.6.2010
“Ockeghem wrote an entire Mass Ordinary…based on his own rondeau Ma maistresse, which we heard in a beautiful performance by Lydia Brotherton, soprano soloist...Brotherton’s perfect intonation and mellifluous tone did full justice to the beauty of Ockeghem’s melody.”
Boston Musical Intelligencer, 14.6.2010
Handel & Haydn Society, “A Bach Portrait” in Symphony Hall
“Best were soprano Lydia Brotherton, who sang with light but pure tone…”
The Hub Review, 4.5.2010
The Boston Camerata, “Maria Monologues” at the Cloisters in New York City
“Lydia Brotherton’s redeemed and penitent Mary in Chanter voel par grant amor showcased her amazingly pure and lyrical singing....”
Boston Musical Intelligencer, 6.5.2010
Handel & Haydn Society, “Zest for Love” with Laurence Cummings
“The H&H singers, particularly Teresa Wakim and Lydia Brotherton, were in fine form…”
The Hub Review, 2.13.2010
Tragicomedia at the Boston Early Music Festival
“And vocally, the ravishing moments were many …Lydia Brotherton and Douglas Williams made strong contributions individually and in ensemble pieces.”
Allan Kozinn, New York Times Arts Beat, 14.6.2009
In Tero Saarinen’s Borrowed Light at the Wellington International Arts Festival
“Lydia Brotherton’s Simple Gifts was familiar yet fresh, exquisitely sung.”
The Dominion Post (New Zealand), 13.3.2008
