“Stephanie Wake-Edwards’ glowing, burnished mezzo as Flora was unforgettable”
SEEN AND HEARD INTERNATIONAL, DECEMBER 2019
GUARDIAN 2023
“Both mezzos are outstanding;….superbly contrasted with Wake-Edwards’ passionate intensity.”
SEMELE, GLYNDEBOURNE
OPERA TODAY 2023
“Stephanie Wake-Edwards takes the latter role, her rich mezzo, sufficiently rounded and firm in the lower register, enabling her to create a strong portrait of awed obeisance in the face of divinity.”
SEMELE, GLYNDEBOURNE
EVENING STANDARD 2023
“Stephanie Wake-Edwards exploited her commanding contralto chest register in the role of Ino.”
SEMELE, GLYNDEBOURNE
OPERA MAGAZINE 2023
“Stephanie Wake-Edwards is clearly a singer of exceptional skill…..her control of line and beauty of tone were remarkable.”
SEMELE, GLYNDEBOURNE
THE ARTS DESK 2023
“the golden mezzo of Stephanie Wake-Edwards, as Semele’s sister Ino, laments her own unrequited longing for Athamas in a beautifully voiced and phrased “Turn, hopeless lover”. Her warmth and refinement impressed from first to last.”
SEMELE, GLYNDEBOURNE
PULS24 2022
“Die Britische Mezzosopranistin Stephanie Wake-Edwards als Solistin mit wendig schattierter, leicht tremolierender Stimme reichlichen Beifall.”
“The British mezzo-soprano Stephanie Wake-Edwards earned ample applause as a soloist with a nimble, shaded, slightly tremolo voice.”
VIVALDI STABAT MATER, GRAFENEGG FESTIVAL
CULTURE WHISPER 2023
“The wonderfully rich-voiced mezzo-soprano Stephanie Wake-Edwards, a recent Royal Opera House Jette Parker artist and sympathetic presence.”
SEMELE, GLYNDEBOURNE
THE TIMES 2023
“A richly expressive Stephanie Wake-Edwards.”
SEMELE, GLYNDEBOURNE
BACHTRACK, DECEMBER 2019
“... the excellent Stephanie Wake-Edwards as Flora.”
VERDI LA TRAVIATA, ROYAL OPERA HOUSE
THE TIMES 2021
“The three ladies, Alexandra Lowe, Hanna Hipp and Stephanie Wake-Edwards, are an excellently imperious trio”
DIE ZAUBERFLÖTE ROYAL OPERA HOUSE
CLASSICAL SOURCE 2021
“Her formidable trio of Ladies, incisively sung and characterised by Alexandra Lowe, Hanna Hipp and Stephanie Wake-Edwards.”
DIE ZAUBERFLÖTE, ROYAL OPERA HOUSE
SEEN AND HEARD 2021
“Stephanie Wake-Edwards was the compelling stage presence she always now is, and she will be a particularly fine Eboli one day.”
JETTE PARKER YOUNG ARTISTS ROYAL OPERA HOUSE
SEEN AND HEARD 2021
“More melodrama followed in the Act II duet between Gennaro and Orsini from Donizetti’s Lucrezia Borgia. This was handled with a light touch from Stephanie Wake-Edwards. [Stephanie] acted and sang with delightful swagger.”
JETTE PARKER YOUNG ARTISTS, ROYAL OPERA HOUSE
THE GUARDIAN, APRIL 2021
“The binding force was the talented mezzo-soprano Stephanie Wake- Edwards, who showed artistic courage and verve”
WEILL THE SEVEN DEADLY SINS / WEILL & BRECHT MAHOGONNY SONGSPIEL, ROYAL OPERA HOUSE
THE STAGE 2021
“... vocally the role [of Anna I] fits Wake-Edwards like a charm, her mid-range warmth never grating, always grateful.”
WEILL THE SEVEN DEADLY SINS / WEILL & BRECHT MAHOGONNY SONGSPIEL, ROYAL OPERA HOUSE
BACHTRACK 2021
“This places a huge acting burden on mezzo Stephanie Wake-Edwards, last seen singing Weill in the Crush Bar with Antonio Pappano as pianist, and she carries it off superbly. She’s excellent with the text.”
WEILL THE SEVEN DEADLY SINS / WEILL & BRECHT MAHOGONNY SONGSPIEL, ROYAL OPERA HOUSE
THE ARTS DESK 2021
“Aspiring star Anna I is Stephanie Wake-Edwards, her fruity mezzo-soprano full of scope.”
WEILL THE SEVEN DEADLY SINS / WEILL & BRECHT MAHOGONNY SONGSPIEL, ROYAL OPERA HOUSE
SEEN AND HEARD 2021
“The sextet of singers was led by a remarkable tour de force from seemingly inexhaustible and very talented singer Stephanie Wake-Edwards (as first Anna I and then Jesse) and her dark-toned – contralto-like – voice was rich, emotive and dramatic.”
WEILL THE SEVEN DEADLY SINS / WEILL & BRECHT MAHOGONNY SONGSPIEL, ROYAL OPERA HOUSE
INEWS 2021
“Tony and the Young Artists, Royal Opera House, review: Stephanie Wake-Edwards is one to watch”……”But it’s Wake-Edwards who really owns the evening, a handy bottle of Maraschino and a bar stool helping her to transform the space into a louche, late-night cabaret. Dring’s narrator…is a miracle of deadpan heartbreak, every flicker lovingly captured by this expressive singer: the highlight of this unexpectedly relaxed performance.”
TONY AND THE YOUNG ARTISTS, RECITAL WITH ANTONIO PAPPANO
INEWS 2021
“Stephanie Wake-Edwards shoulders the main role of Anna I with grit.”
WEILL THE SEVEN DEADLY SINS / WEILL & BRECHT MAHOGONNY SONGSPIEL, ROYAL OPERA HOUSE
iNews, APRIL 2021
“Wake-Edwards dares us to look away as she bares all musically.”
WEILL THE SEVEN DEADLY SINS / WEILL & BRECHT MAHOGONNY SONGSPIEL, ROYAL OPERA HOUSE
SEEN AND HEARD 2021
“Stephanie Wake-Edwards will leave you shaken and stirred by her cocktail of cabaret songs”…”But it was Wake-Edwards who really stole the show… She conjured up late-night cabaret as she sang Kurt Weill’s ‘Speak Low’, William Bolcom’s ‘At the last lousy moments of love’, and finally Madeleine Dring’s ‘Song of a Nightclub Proprietress’. ‘Speak Low’ was sultry rather than bittersweet which was more a feature of her other two songs. Whisper who dares, Wake-Edwards is a contralto though no one is allowed to be that these days. She looks to be a consummate singing-actor.”
LIVE FROM COVENT GARDEN, ROYAL OPERA HOUSE
THE TIMES 2020
“I was also struck by Stephanie Wake-Edwards, a British mezzo with a rare contralto timbre. She was both terrifying and magnificent in ‘Where shall I fly?’ from Handel’s Hercules”
LIVE FROM COVENT GARDEN, ROYAL OPERA HOUSE
THE TELEGRAPH 2020
“After an overture in the form of a spirited performance of Bach’s double violin concerto came Dejanira’s mad scene from Handel’s Hercules. It was sung with vibrant intensity by the mezzo Stephanie Wake-Edwards.”
LIVE FROM COVENT GARDEN, ROYAL OPERA HOUSE
THE GUARDIAN 2020
“Stephanie Wake-Edwards does powerhouse things with Dejanira’s mad scene from Handel’s Hercules”
LIVE FROM COVENT GARDEN, ROYAL OPERA HOUSE
SEEN AND HEARD 2020
“British mezzo-soprano Stephanie Wake-Edwards excelled with her singing and acting during Handel’s ‘Where shall I fly?’ from Hercules. Sung in English with perfect diction ... Joyce DiDonato would approve of Wake-Edward’s coloratura and mindful that no-one wants to admit to being a contralto these days just listen to Wake-Edwards’ unmistakeable dark tones throughout…”
LIVE FROM COVENT GARDEN, ROYAL OPERA HOUSE
OPERA TODAY 2019
“Stephanie Wake-Edwards rather shone as Flora, a glint and a flash in her eyes that mirrored the confidence of her singing.”
VERDI LA TRAVIATA, ROYAL OPERA HOUSE
HELSINGIN SANOMAT 2019
“... dark soft alto Stephanie Wake-Edwards sang the most comforting and gentle tones of the Messiah in ternary pastoral rhythms. Her alto solo was a voice of deep sorrow.”
HANDEL MESSIAH, THE ENGLISH CONCERT WITH HARRY BICKET, HELSINKI FESTIVAL
BACHTRACK 2017
“We have a truly exceptional Arnalta from Stephanie Wake-Edwards, on turbo disapproving-Nonna mode, with a lush contralto and bags of attitude.”
MONTEVERDI L’INCORONAZIONE DI POPPEA, HAMPSTEAD GARDEN OPERA