Lucia di Lammermoor – OPERA SOUTH EAST
“Her performance was outstanding. Looking beautiful and sounding it, she used all the bel canto techniques, floating her voice, rubato and accurate coloratura to shape phrases expressively to give a total picture of Lucia’s vulnerability.”
Angela Goodall (Words and Music)
The Mikado – D’OYLY CARTE OPERA
“The most vivacious of Yum-Yums and the sweetest voice in Titipu.”
Tom Waghorn (Manchester Evening News)
The Mikado – D’OYLY CARTE OPERA
“Sally-Ann Shepherdson’s Yum-Yum was exemplary”
Jan Smaczny (The Independent)
Don Pasquale – CASTLEWARD OPERA
“The heroine, as a Jean Harlow look-alike, was delightfully impersonated by Sally-Ann Shepherdson, who could throw off roulades as neat as her Marcel waves and entered into the dotty plot with hilarious abandon.”
Ian Fox (Opera Magazine)
Don Pasquale – NATIONAL OPERA STUDIO SHOWCASE
“Sally-Ann Shepherdson’s Norina evoked memories of Norma Burrowes with her bright, silver-spangled soubrette, and she is a delightful comedienne.”
Hugh Canning (Opera Magazine)
La Bohème – FIRST ACT OPERA
“I have lost count of the times I have seen ‘La Bohème’ in over 50 years of opera-going, but I have not seen a better Musetta than Sally-Ann Shepherdson, spoilt and solicitous with equal facility, and absolutely irresistible in ‘Quando me’n vo’.”
APB (Newbury News)
The Coronation of Poppea – OPERA FACTORY
“I admired the virtuosity of Sally-Ann Shepherdson as Drusilla, whose singing was unimpaired after her face had been ducked several times in water. She was then carted off into exile, upside down, still singing beautifully.”
Michael Kennedy (Sunday Telegraph)
Don Pasquale – OPERA SOUTH EAST
“The Norina of Sally-Ann Shepherdson was a beautifully sung performance with all the facets of the character so well shown through the music and her acting. Plenty of coloratura displayed her coquettish side and the romantic duet with the nephew Ernesto was a highlight.”
Angela Goodall (Words and Music)
Operetta Excerpts – EASTBOURNE CHORAL SOCIETY
“Sally-Ann Shepherdson was in radiant voice and truly sparkled as Adele, her high coloratura ringing round the hall. After the interval ‘The Merry Widow’ received similar treatment with the widow herself portrayed by Sally-Ann Shepherdson looking stunning and singing accordingly.
Ieuan Roberts (Eastbourne & District Advertiser)
La Bohème – DIVA OPERA
“But the best role in Bohème isn’t Rodolfo or Mimì – it’s Musetta. Sally-Ann Shepherdson’s Musetta was a wonderfully pneumatic tart with a heart – a perfect counterpoint for Hughes’ Mimì.”
Peter Pannett (Guernsey Press)
Le Nozze di Figaro – FIRST ACT OPERA
“As Susanna, the vivacious Sally-Ann Shepherdson stole all hearts and her singing was delectable”
APB (Newbury News)
Die Fledermaus – RIVERSIDE OPERA
“Sally-Ann Shepherdson’s gutsy Rosalinde pleased vocally in the Hungarian countess shenanigans.”
Roderick Dunnett (Opera Now)
Don Pasquale – GARDEN OPERA
“Sally-Ann Shepherdson’s Norina was great – a bell-like coloratura nailing every note, nice diction, a very decent legato and plenty of presence and voice.”
Robert Thicknesse (Opera Now)
The Merry Widow – OPERA SOUTH EAST
“The action really started with the arrival of ‘The Merry Widow’ herself (Sally-Ann Shepherdson) looking absolutely stunning in a red outfit and hat. From then on the work gathered pace…Indeed she gave a stunning performance, both vocally and in her characterisation, rightly dominating the show.”
Angela Goodall (Words and Music)
La Bohème – DIVA OPERA
“Si le role de Musetta est souvent moins touchant, c’est qu’il n’est pas toujours servi avec le talent de Sally-Ann Shepherdson. Cette soprano possède un timbre envoutant, et est parfaite de provocation. Dans le dernier acte elle sait être profond.”
(L’Express, Neuchâtel, Switzerland)
(If the role of Musetta is often less touching, it is only when it is not served by the talent of Sally-Ann Shepherdson. This soprano possesses a timbre of magical charm, and is perfect in her provocations. In the last act she knows how to be profound.)