La Messaggera/Proserpina L’Orfeo; Longborough Festival Opera

“…but the most idiomatic, stylish singing comes from Frances Gregory in the roles of the Messenger…and as Prosperpina, ideally warm and direct.” - The Telegraph (2023)

“Mezzo Frances Gregory is particularly eloquent…” - The Guardian (2023)

“Frances Gregory proves outstanding as the party-pooper who flips joy to grief, her rich mezzo acing the tricky narrative of ‘in un fiorito prato’…” - The Arts Desk (2023)

“Our excellent Messaggera was Frances Gregory, who has witnessed the death of Eurydice, and artfully delays relating this news, building the tension. Later she sang an impressive Proserpina.” - Bachtrack (2023)

Claudio Silla; Northern Opera Group

‘…I should pick out for special mention: Frances Gregory for her thrilling call to rebellion at the end of Act One…’- Opera Now (2022)

‘Equally sharply characterised and beautifully sung is the Claudio of Frances Gregory…’ - The Reviews Hub (2022)

Laura Violet; Britten Pears Arts/Music Theatre Wales:

‘Frances Gregory is a touching Laura, her timbre growing in richness as the maid gives voice to her thoroughly understandable fears.’ - The Arts Desk (2022)

‘Frances Gregory’s Laura hovered tantalisingly between escape and capitulation…’ - Seen and Heard International (2022)

‘Frances Gregory as Laura the maid brings an understated yet powerful presence to the mix…’ - Get the chance Wales (2022)

Fox Gold-Spur The Cunning Little Vixen; Longborough Festival Opera:

‘Frances Gregory stood out playing both the Dog in the early part of the opera and the lover, Gold-Spur the Fox, in Act ii. The singing of the scene where the Fox and Vixen meet and mate was compellingly tender and erotic.’ - Plays to See (2021)

‘Gregory’s finely modulated mezzo lent the Fox a suitably patrician air.’ - Opera Magazine (2021)

‘The long duet between the Fox and the Vixen is superbly delivered by Julieth Lozano and Frances Gregory…’ - The Arts Desk (2021)

‘…the beautiful mezzo-soprano of Frances Gregory…both their Act ii meeting and moment alone in Act iii are highly moving.’ - Music OMH (2021)

‘Lozano is a steely, assertive Vixen, rivalled only in this performance by the still more forceful projection of Frances Gregory as her lover, Gold-Spur the Fox…’ - Classical Source (2021)

‘…piano playing and singing registered well, as in the tender first meeting between the Vixen (Julieth Lozano) and her Golden Fox suitor (Frances Gregory), both very winning in stage manner and voice.’ - Bachtrack (2021)

Carl Loewe Frauenliebe recital at Wigmore Hall with Academy Song Circle:

'Frances Gregory's Frauenliebe, Opus 60, partnered sensitively by Richard Gowers, impressed at many levels: characterisation, personality, style. In particular, through the nine songs, her subtly changing inflections and body language conveyed a believable thirty-minute journey from girlhood and obsession to bereavement and old age. There was real beauty and artistry in this performance ... and a wealth of musical roads to share: 'Du Ring an meinem Finger' stays with me, a little dream of fragrant perfection.' - Classical Source (2019)

Sycorax The Enchanted Island; British Youth Opera:

'Frances Gregory's rich mezzo evinced Sycorax's regal righteousness, but she also conveyed the sorceress' pain with bittersweet poignancy.' - Opera Magazine (2018)

'Gregory is fearless and commanding in an incredibly difficult role' - The Guardian (2018)

'The stand-out turn though, is mezzo-soprano Frances Gregory as the wronged witch Sycorax. Hers is the performance that draws us in.' - The Times (2018)

'...the excellent Frances Gregory' - The Evening Standard (2018)

'...the Sycorax of Frances Gregory, whose ample richly toned voice gives pathos as well edge to her several arias.' - Bachtrack (2018)

Egeo Teseo; London Handel Festival:

‘As Egeo, Frances Gregory used her firm, rich sound impressively - always responsive and expressive - to convey regality and indignation in equal measure...' - Opera Today (2018)

‘Egeo, was taken by an impressive mezzo, Frances Gregory…’ - Brian Dickie (2018)

'Frances Gregory as Egeo revealed an extremely sumptuous mezzo-soprano...' - Music OMH (2018)

'Frances Gregory maintained cool dignity throughout, providing a point of dramatic steadiness...' - Classical Source (2018)

'Here Egeo was sung by mezzo-soprano Frances Gregory, who has a lovely, well-modulated voice and finely musical technique.' - Planet Hugill (2018)