REVIEWS
Rightly
dominating is The Governess of Swedish soprano Sara Wallander-Ross,
vocally luminous and with a stage presence more suggestive of the
troubled yet tough character in Henry James's original story than any I
have seen.
The Turn of the Screw; Hugh Vickers, The Oxford Times
Sara Wallander-Ross' cool Countess, delivered beautifully phrased arias ... discernable by superior vocal delivery.' The Marriage of Figaro; Julia Hollander, Opera Now
Sara Wallander-Ross' rich-voiced, poised Governess, with a powerful stage presence...
Fiona Maddocks, Opera
The biggest scene-stealer was the Witch of Sara Wallander-Ross. She turned in a performance of zappy pazazz as a Bette Midler look-alike, her chic outfit completed by a neat little magic wand, her eye-flashing delivery turning us all to jelly - undoubtedly one of her best recipes.
Hansel and Gretel; Christopher Morley, Opera / The Birmingham Post
From her first appearance Wallander-Ross established her mastery of the role of the Governess, a subtle interpretation conveying the nuances of her state of mind and relations to others.
The Turn of the Screw; Peter Schoefield, Oxford University Magazine
Sara Wallander-Ross providing a regal yet humane governess.
The Turn of the Screw; Oxford Times
Soprano Sara Wallander-Ross and tenor Justin Lavender sang and acted very well, conveying all the despair of their unredeemable situation [Elsa: Lohengrin, Oxford Wagner Society].
London Wagner Society, International Wagner Verband
Sara Wallander-Ross was stunning in voice and appearance. Dressed in a pre-Raphaelite gown and with great statuesque presence, she dominated the performance. Her beautiful voice expressed in perfect French, was used to great effect in emphasising every nuance of the poems. Particularly effective was the short song The Enchanted Flute in which the duo with the first flute proved magical.
Anthony Harris, The Herts Advertiser
The first half was made by the vocal offerings of soprano Sara Wallander-Ross. In the concert aria [Ah, perfido, Beethoven] she made you believe you’re actually at the opera house. Throughout, her clarion voice dominated the Ladies’ College. Wallander-Ross' explosive delivery [of Dich teure Halle] captured the mercurial moods of her subject/character. Mega applause for the Wagnerienne and calls for encore.
A S H Smyth, Sunday Times, Sri Lanka
Special praise for Sara Wallander-Ross who doubled as Wellgunde and Freia.
David Edwards, Wagner News
A sympathetic and poignant rendering of Freia.
Peter Schoefield, Oxford University Magazine
.... admirable presence, full of understanding of the intent of the work and clear-voiced solo lines.
Shéhérazade; John Westcombe, St Albans Observer
Throughout her recital, Sara sang with great clarity and and musicality, showing that necessary sense of identification with each particular song which is the hallmark of the true lieder specialist. The clarity of diction and the atmosphere evoked in her English group would put to shame some native singers.
Brian Midgley, The Stratford Herald
Sara Wallander-Ross was well cast as The Governess, emphasising the character's desire for rationality and clarity as events intensify around her.
The Turn of the Screw; Andrew Blades, BBC Oxford
‘Voi lo sapete o mamma’ [Cavalleria Rusticana] had great fire on the top notes.
A S H Smyth, The Sunday Times, Sri Lanka
The Turn of the Screw; Hugh Vickers, The Oxford Times
Sara Wallander-Ross' cool Countess, delivered beautifully phrased arias ... discernable by superior vocal delivery.' The Marriage of Figaro; Julia Hollander, Opera Now
Sara Wallander-Ross' rich-voiced, poised Governess, with a powerful stage presence...
Fiona Maddocks, Opera
The biggest scene-stealer was the Witch of Sara Wallander-Ross. She turned in a performance of zappy pazazz as a Bette Midler look-alike, her chic outfit completed by a neat little magic wand, her eye-flashing delivery turning us all to jelly - undoubtedly one of her best recipes.
Hansel and Gretel; Christopher Morley, Opera / The Birmingham Post
From her first appearance Wallander-Ross established her mastery of the role of the Governess, a subtle interpretation conveying the nuances of her state of mind and relations to others.
The Turn of the Screw; Peter Schoefield, Oxford University Magazine
Sara Wallander-Ross providing a regal yet humane governess.
The Turn of the Screw; Oxford Times
Soprano Sara Wallander-Ross and tenor Justin Lavender sang and acted very well, conveying all the despair of their unredeemable situation [Elsa: Lohengrin, Oxford Wagner Society].
London Wagner Society, International Wagner Verband
Sara Wallander-Ross was stunning in voice and appearance. Dressed in a pre-Raphaelite gown and with great statuesque presence, she dominated the performance. Her beautiful voice expressed in perfect French, was used to great effect in emphasising every nuance of the poems. Particularly effective was the short song The Enchanted Flute in which the duo with the first flute proved magical.
Anthony Harris, The Herts Advertiser
The first half was made by the vocal offerings of soprano Sara Wallander-Ross. In the concert aria [Ah, perfido, Beethoven] she made you believe you’re actually at the opera house. Throughout, her clarion voice dominated the Ladies’ College. Wallander-Ross' explosive delivery [of Dich teure Halle] captured the mercurial moods of her subject/character. Mega applause for the Wagnerienne and calls for encore.
A S H Smyth, Sunday Times, Sri Lanka
Special praise for Sara Wallander-Ross who doubled as Wellgunde and Freia.
David Edwards, Wagner News
A sympathetic and poignant rendering of Freia.
Peter Schoefield, Oxford University Magazine
.... admirable presence, full of understanding of the intent of the work and clear-voiced solo lines.
Shéhérazade; John Westcombe, St Albans Observer
Throughout her recital, Sara sang with great clarity and and musicality, showing that necessary sense of identification with each particular song which is the hallmark of the true lieder specialist. The clarity of diction and the atmosphere evoked in her English group would put to shame some native singers.
Brian Midgley, The Stratford Herald
Sara Wallander-Ross was well cast as The Governess, emphasising the character's desire for rationality and clarity as events intensify around her.
The Turn of the Screw; Andrew Blades, BBC Oxford
‘Voi lo sapete o mamma’ [Cavalleria Rusticana] had great fire on the top notes.
A S H Smyth, The Sunday Times, Sri Lanka
