Opera Reviews
Geraldine McGreevy in a thrilling assumption [of the Marschallin] marked by wonderful phrasing, delicate vocal colouring and perfect ennunciation of the text.
Barry Elmsie, Opera
McGreevy offered some superb Handel singing, with gorgeously spun, soaring, shining phrases and radiant, crystal clear embellishments. Moreover, she made Alcina a believable character, a modern woman whose world is shattered when she realizes she is powerless against the powers of love.
Jochen Breiholz, Opera News
Geraldine McGreevy, who took over for an ill colleague only days before the premiere, sang a touching and dominant Alcina. Her clear intonation and brilliant technique gained her the biggest applause of the evening.
Uwe Schneider, Opera Japonica
Curnyn leant on the languid fluidity of the music, all phrasing, shading and drawn-out cadences, a perfect accompaniment for the beautiful voice of Geraldine McGreevy, singing Alcina from the wings. Her six arias cover all bases from honey-dripping seduction to scorned fury, and McGreevy handled this study in power and insecurity with effortless grace.
Robert Thicknesse (Alcina)
But it was Geraldine McGreevy's wonderful O let me weep that was the highlight and still centre of the evening....... It's hard to imagine this being better or more movingly performed.
Robert Thicknesse, The Times (Purcell's The Fairy Queen, Wigmore Hall)
The unnatural, here represented by Geraldine McGreevy (Miss Jessel) and Paul Nilon, the one stoic in her hell,....throughout have the advantage. Both sing with superb control and power, words insinuating and fearful in their clarity.
David Blewitt, The Stage
The other outstanding voice was Geraldine McGreevy as Poppea: warm, richly coloured sound and witty characterisation, recognising that Handel was always at his best when writing for amorous women.
Rodney Milnes, Times
Geraldine McGreevy (Vitellia) has a voice like a stream of molten gold running down your spine. Wheedling, manipulative, vengeful, she makes all the other characters look lifeless, and when she finally melts into self-awareness in the wonderful, basset-horn acompanied "non piu di fiori", it is as though the Sun has broken through.
Robert Thicknesse, The Times
Geraldine McGreevy's soprano purity gave the Female Chorus a miraculous spiritual coherence.
Tom Sutcliffe, Evening Standard
As Donna Anna, Geraldine McGreevy had stage presence and a confident, flexible voice.
Fiona Maddocks, Observer
[Geraldine] sang a Per Pietà which would grace any stage in Europe: she is already an artist of maturity and poise, evidently destined for great things.
Hugh Canning, Opera Magazine
.. and a miraculous Fiordiligi. Geraldine McGreevy...was devastating in Per Pietà, the aria that exposes all the character's vulnerability. With limpid top register, fast light passagework and a warmly coloured, telling lower register, she is certainly a compelling new star in the firmament.
Tom Sutcliffe, Evening Standard