Blue Heron Choir, "The Virgin and the Singer"

Boston Globe: "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."

Boston Musical Intelligencer: "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."



Handel & Haydn Society, "Bach Portrait"

Hub Review: "Best were soprano Lydia Brotherton, who sang with light but pure tone…"



Boston Camerata, "The Maria Monologues"

Boston Musical Intelligencer: "Lydia Brotherton's redeemed and penitent Mary in "Chanter voel par grant amor" showcased her amazingly pure and lyrical singing, which beautifully balanced the sultry richness of Rentz-Moore's voice. Both women shone in the dialogue between Mary Magdalene and the angel at the tomb, excerpted from the 13th century Origny Mystery Play."

Boston Globe: "All this was performed with just the right balance of solemnity and drama by Azéma and Lydia Brotherton, both sopranos, and mezzo-soprano Deborah Rentz-Moore. As important as the beauty of their voices was the clarity of their diction. They sang individually and together; when the music switched from unison melody to harmony during the ensemble songs, the effect was exquisite."



Handel & Haydn Society, "Zest for Love"

Classical Voice of New England: "Soprano soloists, Lydia Brotherton and Teresa Wakim fulfilled their roles with clear-toned bel canto vocal lines."

Boston Globe: "The singers (Lydia Brotherton, Teresa Wakim, Thea Lobo, Stefan Reed, and Paul Guttry) were drawn from the H&H chorus, and were sometimes joined by Cummings himself, who added a fine tenor while managing the keyboard. The group's blend of sound, diction, and phrasing was always pleasing and expert."

Hub Review: "The H&H singers, particularly Teresa Wakim and Lydia Brotherton, were in fine form…"



Tragicomedia, "Here I am, ready for kisses: The Many Sides of Love in Monteverdi Madrigals"

New York Times: "And vocally, the ravishing moments were many …Teresa Wakim, Lydia Brotherton and Douglas Williams made strong contributions individually and in ensemble pieces."



Tero Saarinen's Borrowed Light

Dominion Post (New Zealand): "Lydia Brotherton's Simple Gifts was familiar yet fresh, exquisitely sung."