Louise Mott - Mezzo Soprano

http://www.louisemott.net

Louise Mott is a graduate of the Guildhall School of Music, Royal College of Music (supported by a Wolfson scholarship) and National Opera Studio (supported by Sybil Tutton and Ralph Vaughan Williams awards) and is continuing her studies with Robert Dean.

Opera roles include Ariodante for English Touring Opera, Fidalma The Secret Marriage and Annina Der Rosenkavalier for Opera North, Bradamante Alcina, ENO, Annio La Clemenza di Tito, WNO, Edith Alfred, Agrippina, Ariodante, Sesto Giulio Cesare, Orlando, Rosmira Partenope, Serse and Dido Dido and Aeneas for The Early Opera Company, God’s Liar (John Casken), Ion (Param Vir) and Marguerite Hey Persephone! (Deidre Gribbin) for Almeida Opera, Emerald Boys and Girls Come Out to Play (Robin Holloway) and Blind Mary The Martyrdom of St Magnus for The Opera Group, Wife/Sphinx/Doreen Greek (Mark-Anthony Turnage) with the London Sinfonietta, and Marlinchen The Juniper Tree (Roderick Watkins) Munich Bienale at the Muffathalle, Munich.

Engagements in 2005/6 include Mozart C minor Mass conducted by Aidan Oliver and Sosostris A Midsummer Marriage conducted by Ricard Hickox for St Endellion Summer Festival, further performances of Ariodante for English Touring Opera at the Buxton Festival, Lloyd Moore's Three Epigrams of Kathleen Raine with The Philharmonia Orchestra and Mozart Solennes Vespers & Haydn Nelson Mass with City of Birmingham Choir at Symphony Hall, Birmingham.

Reviews

Peter Maxwell Davies The Martyrdom of St Magnus The Opera Group, Round Chapel, Hackney, London

"Louise Mott's searingly intense performance [of Blind Mary] caught both the mythical and human dimensions of the role. She achieved a superb mastery of the supernatural emotional and musical range of the part - from the inwardness of her opening humming, which seemed to colour the dark silence of the auditorium, to her final, impassioned railing aganist the cycles of sacrifice and death. And this brilliant vocal display was complimented by the strength of Mott's dramatic characterization. In the concluding scene, the Blind Woman miraculously regains her eyesight. But there was little sense of hope in Mott's performacne, as her blindness had become a metaphor for the lack of vision and understanding among the warring men. Mott's Blind Woman remained unaffected by the impassive, plainchant-inspired chorus of Saints. She continued as desolate and desperate as before lighting and extinguishing a single candle while imploring the audience to consider when the senseless suffering and cruelty will cease."

Tom Service - Opera

G. Rossini L'Italiana in Algeri - St Albans Chamber Opera - Abbey Theatre, St Albans, Herts

"...Louise Mott is an outstanding mezzo with warm, velvety tone, clear diction, exemplary intonation and an ability to throw off Rossinian coloratura with effortless ease."

Robert Boas - Opera

Thomas Arne Alfred - The Early Opera Company, Linbury Studio Theatre, Royal Opera House, London

"A subdued episode when a woman mourns her dead husband had seemingly little place in the sketchy plot, but provided a welcome opportunity to hear Louise Mott, a polished and expressive mezzo."

Erica Jeal - The Guardian, 19th May 2000

"Louise Mott as Edith, a woman whose lover has been killed in the war, gave a completely compelling performance that stood out a long way from the rest. Mott is definitely a star."

H.E. Elsom

G.F. Handel Agrippina - The Early Opera Company, St John's, Smith Square, London

"Louise Mott rightly underplayed Agrippina's villainy with the straightest of faces and sang with consistently beautiful and expressive mezzo tone."

Rodney Milnes - The Times

G.F. Handel Serse - The Early Opera Company, Steiner Theatre, London

"...a quite remarkable Serse...lovely of timbre, virtuosic, exciting in the delivery of her two great bravura numbers..."

Hugh Canning - Opera

"...Louise Mott's performance in the title-role was well worth the price of a ticket. Her singing was passionate throughout and she came into her own with stunning renditions of the lengthier arias."

Rebecca Agnew - Opera Now

H. Purcell Dido and Aeneas - Early Opera Company, St John's, Smith Square, London

"Louise Mott's firm, satin-sheeny tone was perfect for Dido: her poised singing of the Lament held the full, appreciative house breathless."

Rodney Milnes - The Times

Riccardo Simonetti, louchely handsome, and Louise Mott, very much a tart with a heart, caress each other with the convincing intimacy of lovers who believe that nothing can affect them. When reality dawns, he can't touch her at all. She clings to his legs in desperation.
Mark-Anthony Turnage Greek - London Sinfonietta, Queen Elizabeth Hall, London - 17th/18th April 1998

"...Louise Mott sang with opulent tone and a musical sensibility that did full justice to Turnage's soaring vocal lines."

The Times

"But it was Louise Mott's orgasmic act two 'Love Aria', in which she hymned the 'flowing river' of Eddy's body while crawling on all fours across the floor of their now up-market cafe, that hit the emotional G-spot of the evening."

Mark Pappenheim - The Independent

S. Barber Vanessa - The Other Theatre Company - Lyric Studio Theatre, Hammersmith, London

"Louise Mott is very exciting [as Erika] in this show-stealing part - thanks to the powerful and wonderous soft sheen in her voice."

Tom Sutcliffe - Evening Standard

G.F. Handel Samson - St Albans Chamber Opera

"I was also impressed by the beautiful singing of Louise Mott as Micah. She sang consistently well throughout the evening, giving vibrant tone quality, notably in 'Ye Sons of Israel' and the powerful delivery in 'Return O God of Hosts.'"

St Albans Observer

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