Flight - Opera Magazine September 2022, Peter Reed

"Blessed with a lyrical and affecting mezzo voice, Emma Roberts delivered a fine portrayal of vulnerability blooming into self-assertion when she went into labour."

Flight - Opera Wire July 2022, John Vandevert

"Theo Perry and Emma Roberts, two more exceptional and strong young talents whose mutual and collective dynamism, both vocally and theatrically, far surpass held expectations of student-based opera productions"

​

"Speaking of Act 3, the highlight of the act was Minskwoman's "reborn" aria...With a commanding presence and a lyrical richness which bespoke not only her character's supreme honesty but Emma the woman and daughter off the stage, her awakened sense of self at the realisation of her motherhood was astounding."

Hansel and Gretel RCM March 2022

Opera Today - Claire Seymour

"The fullness and varied colours of Roberts' beautiful mezzo capture Hansel's adolescent restlessness. By turns sulky and soft-hearted, his bravado is balances with a vulnerable need to be loved."

​

Barefoot Opera Orfeo/Zanetto

The Stage UK **** 

"Intriguing, beautifully sung, female-led operatic double bill...Roberts' rich, powerful voice and sensitive bearing is well suited to the conflict experienced by Orfeo"

Hastings Battle Axe

"As soon as Orfeo (Emma Roberts) opened her mouth to sing, I knew were in for something special – she had the most wonderful, powerful mezzo voice, a very expressive face and natural-looking gestures.  Her rendition of the famous ‘Che faro’ aria was genuinely moving."

Lark Reviews UK

"And that brings me to the glorious alto performance from Emma Roberts... Roberts can really act convincingly which is vital in this bijoux performance in an intimately small space. And she is adept at carving out resonant low notes and making them speak poignantly. It isn’t easy to deliver a pot boiler like Che faro senza Euridice and carry it off as if it’s fresh because nearly everyone in the room has vivid sound memories of Kathleen Ferrier and Janet Baker. Roberts, however, does a fine job, packed with anguish as she mourns over the body of the now finally lost Euridice (Lizzie Holmes) and I was moved by her poignant ornamentation on the final repeat."

Broadway World ****

"Roberts gets to do much of the heavy lifting as Orfeo and sings beautifully, her mezzo-soprano ringing out through a somewhat unforgiving acoustic space."