Eva Pogner, Wagner die Meistersinger von Nurnberg, Fulham Opera
Philippa Boyle's luminous soprano and shimmering, tight vibrato ensured a vividly sung Eva, and she movingly acted out her character's complex relationship with Sachs...this Eva related strongly to Sarah Denbee's engaging Magdalena
Peter Reed, Opera Magazine
Philippa Boyle, a hugely powerful voice from whom we definitely wanted to hear more...
Andrew Lawston, and Twickenham Tribune
All of the roles were well cast and superbly sung, but for me the outstanding voice was Philippa Boyle as Eva. Her glorious Italianate tone was so suited to Eva. Her scene with Keel Watson's beautifully warm and gloriously sung Hans Sachs was incredibly moving.
I am routinely dazzled by the sheer quality of Fulham Opera's casting and on this occasion the company really did themselves proud. The gleaming-voiced Philippa Boyle remained childlike, confident of her ability to twist her men around her little finger, but deeply shaken on realising how much Sachs loved her....(she) made the most of the soaring lines of O Sachs and the Quintet.
Katie Barnes, Wagner News
Elizabeth 1st, Donizetti Maria Stuarda, OperaUpClose
Philippa Boyle steals the show with her perfect depiction of the haughty Elizabeth, her soaring unmiked soprano filling the space with such power.
Gabriel Wilding, Hackney Citizen
The singers...respond with singing of both subtlety and ferocity. Flora McIntosh (Mary) and Philippa Boyle (Elizabeth) are superb, on top of the music and in the drama.
Nick Kimberley, Evening Standard
The excellent Philippa Boyle as Elizabeth is unrestrained in her portrayal of willful jealousy, delivered with real power.
Howard Gray, phacemag.com
At time, especially during the flaming row between the queens, the feeling of intimacy and intensity calcifies into an onslaught on the senses, with Philippa Boyle maintaining a particularly spine-shuddering stream of decibels. The two women tackle Donizetti's coloratura challenges with admirable accuracy.
Richard Morrison, The Times
Sitting just feet away from voices trained to fill an opera house can be thrilling, especially with powerhouse voices such as Philippa Boyle. Boyle's impressive soprano, laser-like in focus and attack, matches the mezzo of McIntosh. Together they reign supreme.
Amanda Holloway, The Stage
Elizabeth's hard outer shell could not quite conceal the vulnerable woman beneath....Philippa Boyle's Elizabeth was a tough but lonely career woman. Her rich-toned, resplendent soprano was truly regal and filled with threat and pathos.
Katie Barnes, Harmony Magazine
Elisabetta di Valois, Verdi Don Carlo, Fulham Opera
As his love interest, Philippa Boyle was similarly impressive. She has a focused, jugend-dramatisch voice (she sings Eva in Fulham Opera's The Mastersingers next year) yet with plenty of straight tone....This Elisabeth was feisty, and her scenes with Don Carlo, with Philip and with Eboli all fairly crackled.....and Boyle kept the best till last, turning in a mesmerising performance of Elisabeth's huge aria in Act Five.
Dignified yet passionate as Elisabetta, Philippa Boyle shaped "Tu che le vanità" with amplitude and artistry.
Yehuda Shapiro, Opera Magazine
Mum/Sphinx/Waitress, Mark-Anthony Turnage, Grimeborn Festival
An authentic physical experience built on aggressive muscularity and balletic precision, with the tropes of silent comedy never far from the surface....No one projects these skills better than Philippa Boyle, a soprano who can gurn on a sixpence and lurch from clown to victim"
Mark Valencia, Whatsonstage.com
"Philippa Boyle's Mum is a tour de force of versatile character acting, her soprano lyrically expressive...Boyle and Morrison in particular use a dazzlingly wide range of vocal styles"
Philippa Boyle is also exceptional in her role as Mum...I loved the way she threw herself into the role, fearlessly biting into the uncomfortable material, all the while maintaining a confident soprano voice"
Frank McHugh, arthursseat.com
Philippa Boyle's hilarious waitress and powerful sphinx-like expressions deserve credit..Boyle's enthusiasm for performances is evident and her lyric soprano voice alone is outstanding".
Philippa Boyle's mum fizzes with vocal versatility
Tosca (Puccini Tosca), King's Head Theatre
The confrontation between Tosca and Scarpia was simply superb..Philippa Boyle's big aria "Love and Music" was stunning".
Owen Davies, Plays to see
Philippa Boyle takes the title role with enough power and passion to shake the most weary audience member wide awake. It is also rather wonderful that she cat act: her body language and facial expressions jump deftly between the suitably coquettish and the temptress consumed with jealousy. Her clear and sharp soprano demonstrates her classic Italian training, showing both colour and emotion, particularly in the adaptation of vissi d'arte. She is definitely a diva in the making"
Aliya al-Hassan, Broadway World
"A passionate, stand-out performance from Boyle, who not only has a big and beautiful voice, but also excellent comic timing"
Eva de Valk, Everything Theatre
Culture and the Third Reich, Mastersingers
"Boyle's wonderful voice showed to its best advantage in the stratospheric vocal line of Krenek's die Nachtigall, angular, modern, yet lyrical....Boyle clearly relished the Puccinian diva Anita's soaring soprano lines...Boyle took the stage by storm in the finale of Capriccio..Boyle was wonderful in Heliane's testing aria, and the sublime, unearthly final duet was a fitting climax to the occasion".
Katie Barnes, the Mastersingers
Verdi Requiem, Bournemouth Symphony Orchestra, Leeds Town Hall
Philippa Boyle - a gleaming soprano with an unwavering higher register
Geoffrey Mogridge, Wharfedale Observer
Shahrazad (Danyal Dhony Shahrazad), Opera Vera and Cantata Dramatica
"Peter Brooke’s resonant Haroun and Philippa Boyle’s luscious Abbassa (Haroun’s sister) are ideally matched. Boyle also sings the role of Shahrazad, bringing a hypnotic quality to her exotic modal writing as well as cleanly chiselled consonants."
Edward Bhesania, The Stage
"Philippa Boyle's agile soprano tickled the ear as Shahrazad, with clear even vocal lines"
Mark Pullinger, Bachtrack.com
Dvorak Te Deum, Albert Hall, Nottingham
"The final work was Dvorak's Te Deum, a piece which combines spiritual fervour with red-blooded passion, infectious rhythms and a profusion of good tunes. The intensely operatic soloists were Greg Skidmore and - gloriously, thrillingly - Philippa Boyle.
William Ruff, Nottingham Post
Cathleen (Vaughan Williams Riders to the sea) Wexford Festival Opera
"As the protective older daughter, Cathleen, Philippa Boyle sang with a gently glinting soprano"
John Allison, Opera Magazine
"Philippa Boyle’s Cathleen was silvery and piercing, but not strident, pressing home the intensity of fear and loss"
Claire Seymour, Opera Today
"Philippa Boyle überzeugt als Cathleen mit vollem Sopran und bewegendem Spiel." (Philippa Boyle convinces as Cathleen with her full soprano voice and moving performance).
Thomas Molke, Online Musik Magazine
« Riders to the Sea » de Vaughan Williams faisait surtout entendre les belles voix de Philippa Boyle (Cathleen) et Katie Lowe (Nora). (Riders to the Sea allowed us to hear above all the beautiful voices of Philippa Boyle and Katie Lowe)
Erna Metdepenninghen, Crescendo Magazine,
"Nel cast vocale, accompagnato al pianoforte da Benjamin Laurent, spiccavano soprattutto Philippa Boyle e Katie Lowe (le due figlie Cathleen e Nora)" (In the vocal cast, accompanied at the piano by Benjamin Laurent, Philippa Boyle and Katie Lowe (the two daughters Cathleen and Nora) stood out above all)
Stefano Nardelli, Il Giornale della Musica
"Me produjo buena impresión Philippa Boyle en la parte de Cathleen." (Philippa Boyle made a good impression on me in the part of Cathleen)
José M. Irurzun, Beckmesser.com
Old Girls Assocation Recital with pianist Peter Foggitt, Notting Hill and Ealing High School
"Then came Philippa Boyle. With Italian and Russian arias she stirred the audience with a performance rich in tonal and emotional contrast. She enchanted as she sang about Italian lovers serenading girlfriends through Francesco Tosti’s Marechiare, canto Napoletano. Then entranced, evoking the wonderful tonal pictures of the poem by Fyodor Tytchev heralding the onset of spring in Rachmaninoff’s “Spring Waters”. Colourful piano passages were liquidly played by her accompanist, and a strong partnership was self evident through the complex musical interpretation they shared. Arias from Puccini’s Tosca and Verdi's I Vespri Siciliani further displayed her consummate vocal gifts, and the finale was a Cole Porter treat of “I hate men” from Kiss Me Kate; sang with brazen tone and flirtatious command.....Fundamentally “the old girls’ done good!”, and the audience clearly left thinking that too."
"A Spring Awakening", recital for the Mastersingers
In Philippa Boyle, Aurore Lacabe and Mario Sofroniou, we experienced three artists who were powerfully and dramatically passionate in their interpretation and clearly destined for outstanding international careers".
Michael Bousfield, The Music Club of London
Giorgetta (Puccini Il Tabarro) Opera Vera
"The leading lady, soprano Philippa Boyle, had true craftsmanship of each beautiful nuanced phrase, with instinctive and stunning attention to detail."
Isabel Mitchell, Fringe Opera
Giunone (La Calisto) Hampstead Garden Opera
“The cast is dominated by Philippa Boyle’s ferocious Juno. Here’s a woman you really wouldn’t want to wrong – all sequins and scheming vengeance, and in possession of some of the finest coloratura of the evening. Boyle took charge of Cavalli’s lines, playing with them texturally just as she toyed deliciously with Teresa Pells’ Calisto.”
Alexandra Coghlan, The Arts Desk
“The cast was studded with promising young talent. Juno (Philippa Boyle) was an extremely impressive dramatic soprano with an incredible stage presence.”
Marjorie Larkin, Everything Theatre
“But still, you couldn’t help but cheer for straight-from-the-playbook Juno (Philippa Boyle) as she came in in her glorious spangled black dress with a cape of iridescent feathers – what slip of a girl, no matter how dedicated to her path, could stand against her? I found it all very exciting.”
"Webcowgirl" <i> Life in The Cheap Seats
“Made a formidable Juno”
Ham & High
“Contributed a raging portrayal of [Jove's] deceived wife Juno”
Recital with pianist Peter Foggitt, Farnham United Reformed Church
"Philippa Boyle and Peter Foggitt saved the day by agreeing to step in at very short notice indeed with a programme of piano solos and operatic arias for soprano. And what arias and piano solos! Straight in, without any introduction, Philippa electrified the audience with “Stridono lassù” from I Pagliacci : a startlingly dramatic opening... [The arias] were sung with great dramatic force and left the audience wanting more... the performance was breath-taking."
Yukiko (Tonseisha: The Man Who Abandoned the World), Saltpeter Productions, Grimeborn Festival
"Brief dramatic scenes performed by the actors were interspersed with quirky, mainly chromatic musical episodes performed very ably by the soprano, Philippa Boyle and flautist, Ilze Ikse, conducted by the composer, who made his own contribution by playing an amplified manual typewriter."
Angelica (Handel Orlando) Associazione OperaInCanto, Umbria
"Gli interpreti dello spettacolo Umbro sono tutti da lodare...dall'Orlando appassionato di Gloria Petrini alla soave Angelica di Philippa Boyle. Il folto pubblico in teatro ha decretato per tutti un meritatissimo successo trionfale."
(The singers in this Umbrian production are all worthy of praise...from the passionate Orlando of Gloria Petrini to the sweet Angelica of Philippa Boyle...the packed audience in the theatre declared it for all involved a well-deserved triumphant success.)
Dino Villatico, Classic Voice
Angelica è stata ben interpretata da Philippa Boyle (Angelica was ably interpreted by Philippa Boyle)
Daniela Puggioni, gothicNetwork.org