The most striking singing of the evening came from Nadine Livingston.
The Times, Gloriana, Britten, ROH
Nadine Livingston’s Gilda was pure gold. Her polished, shining soprano effortlessly soared heavenward whilst musing on her love for the Duke as she sang “Gualtier Malde….caro nome.” Miss Livingston is described as being part of Scottish Opera’s Emerging Artist programme. It is quite clear from her performance that she has in fact emerged and done so with an admirable grace and elegance.
Opera Brittainia, Rigoletto, Verdi, Scottish Opera
Most outstanding of all, however, was Nadine Livingston, another of Scottish Opera’s Emerging Artists. Her Gilda is one of the finest I have heard in a long time, bright and innocent for the first act, wounded and vulnerable in the second. The clarity of her tone is remarkable, as is her technical skill for the coloratura of Caro nome, and her performance in the final duet was deeply moving.
Seen and Heard International, Rigoletto, Verdi, Scottish Opera
Nadine Livingston confirmed the promise of her Susanna in last autumn’s Figaro with a sensitively sung and convincingly ingenuous Gilda.
The Telegraph, Rigoletto, Verdi, Scottish Opera
Nadine Livingston is a virginal revelation as the doomed Gilda. Her silvery, controlled Caro nome, teetering on the brink of forbidden love, is heartfelt, trepidatious and innocent.
The Times, Rigoletto, Verdi, Scottish Opera
Her Susanna, vivacious, lyrical, perfectly tuned and with a consistently silvery lustre from above the stave to the chesty depths of Deh vieni, is a knockout.
The Times, The marriage of Figaro, Mozart, Scottish Opera
Nadine Livingston’s irrepressibly exuberant and pragmatic Susanna – her sheer brio is breath-taking.
The Herald, The marriage of Figaro, Mozart, Scottish Opera
Nadine Livingston’s Musetta sparkled.
The Times, La Boheme, Puccini, Scottish Opera
Nadine Livingston made the most of her main stage debut with a terrific Musetta, a hellcat in killer heels.
The Herald, La Boheme, Puccini, Scottish Opera
This act is enlivened, too, by Nadine Livingston’s feisty turn as Musetta, a Vivienne Westwood-clad good-time girl with attitude.
Guardian, La Boheme, Puccini, Scottish Opera
Nadine Livingston as Katya was astonishing…there is no doubt that Miss Livingston possesses a powerful and highly expressive voice…a gifted actress as well as a gifted singer. Her touching embrace of Boris was exquisitely tender, the confession of her infidelity reckless, whilst her death scene was all about resignation from hope and life.
Opera Britania, Katya Kabanova, Janacek, Scottish Opera
Nadine Livingston’s Katya was powerful…she portayed her uneasy relationship with gutsy conviction.
The Scotsman, Katya Kabanova, Janacek, Scottish Opera
Nadine Livingston’s engaging Rosalinde…bringing a lift and ravishing colour to her effortless-sounding Csardas.
Opera Now, Die Fledermaus, Strauss, RNCM
This outstanding soprano…Her singing of the csardas would have graced any stage, and her vivacity and humour brought the character to life. Remarkable.
Opera magazine, Die Fledermaus, Strauss, RNCM
…a star of potential magnitude…
Opera magazine, Eugene Onegin, Tchaikovsky, RNCM
She effortlessly convinced us….vulnerable country girl revealing her inner most feelings in a genuine outpouring in the Letter Scene…..a vocally elegant and refined princess Tatyana.
Opera Now, Eugene Onegin, Tchaikovsky, RNCM
…. [her] liveliness and natural stage presence encompassed the whole evening…her accuracy was phenomenal, she crowned the portrayal with a ravishing ‘Deh’ vieni’…
Opera magazine, Le Nozze di Figaro, Mozart, RNCM
….a sexy and spirited Susanna….while her vocal interpretation combined girlish vivacity with remarkably mature depths of texture and colour.
Opera Now, Le Nozze di Figaro, Mozart, RNCM