“Lorna Haywood brought to the role a beauty of sound and dramatic subtlety rarely found in today’s lyric theatres.” -- Opera News

“Lorna Haywood enjoyed a triumph in the title role, giving a performance as mesmerizing in its psychological insights as it was ravishing in sound.” -- Musical America

“The audience knew they had just experienced the most stunning San Francisco debut in years. They knew they had witnessed a performance so imbued with pathos, vulnerability, musicianship and respect for the singing line that it surely qualified for “unforgettable” status. -- San Francisco Examiner, Allan Ulrich

“Her Katya was urgent, compelling and, above all, believable …. all the more powerful for its naturalism. Haywood’s voice is full of glory as it soars along the top, the kind that makes you shiver. By all accounts this was a stunning performance.” -- San Francisco Chronicle, Marilyn Tucker

“Lorna Haywood sings so beautifully, acts so sympathetically, articulates the text so naturally that one can only applaud her exceptional authority and insight.” -- Los Angeles Times, Martin Bernheimer

“In the title role Lorna Haywood was little short of overwhelming.” -- New York Herald Tribune, Alan Rich

“With Lorna Haywood in the title role the passion, the guilt, the yearning are strongly portrayed. Miss Haywood’s handling of her phrases was masterly in its clear, sensitive command of weight and accent. Do not miss it.” -- The Financial Times, London, Andrew Porter

“Lorna Haywood’s powerful voice, with its quick emotional communication and hint of Slavonic brightness of tone, made her an impressive Katya.” -- The Daily Telegraph, London, Martin Cooper

“Lorna Haywood, in the finest operatic performance I have seen her give.” -- TheTimes, William Mann

“Lorna Haywood’s Katya matched a stage performance of passionate conviction with an unforced vocal production of often ravishing quality. -- New Statesman, London, Bryan Northcott

“This must be the finest performance Lorna Haywood has given. Magnificent and sure in voice and pulsating with passion, guilt and tenderness.” -- Stage and Television Today, London

“Lorna Haywood’s interpretation of the title role is vivid and intense, as accomplished vocally as it is white - hot dramatically. In her confession scene, she not only holds on to the fast - paced vocal line, but also manages to throw herself around the stage in as convincing a portrayal of advanced hysteria as I have seen: a remarkable display of physical acting.” -- The Spectator, London


“Lorna Haywood, in glorious voice and much involved with the heroine’s compassionate nature, made considerable impact.” -- Opera News

“Lorna Haywood has already sung Jenufa at Covent Garden. Her acting is so detailed and yet so unfussy. As the blows of fate rained in on her through the acts, her impersonation grew all the more profoundly moving. She sang the role beautifully – indeed, she seems incapable of emitting an ugly sound on stage.” -- Opera, Rodney Milnes

“Heading the cast is a superb English soprano. Lorna Haywood is immensely effective as one of opera’s most tragic heroines … Haywood was superb in every aspect of the role.” -- Washington Post, Paul Hume

“Lorna Haywood was brilliant – a resourceful singer – an actress of formidable expressive power and scrupulous musicianship. She presented a human and touching Jenufa in a warm, ample and feminine soprano.” -- Boston Patriot

“Lorna Haywood sang the title role. Her fluid, flexible voice and her ability to express emotion physically as well as musically made Jenufa’s plight all the more pitiable. Haywood’s voice has warmth in all of its registers.” -- Boston Ledger

“The title role was beautifully sung by soprano Lorna Haywood. A handsome woman, Ms. Haywood has a lovely, clear voice and an effortless manner of singing.” -- New England Connection

“British soprano Lorna Haywood’s Jenufa steadily matured from the hopeful and anxious girl of Act One to the tender mother of Act Two and the understanding, courageous woman of Act Three. Her full lyric soprano carried in clear tones, and she acted with intense involvement while unaffectedly communicating the sense of each phrase. Miss Haywood’s style was direct and idiomatic, her dignity and dramatic credibility unassailable. Fusions of voice, gesture and glance made the drama vivid.” -- Baltimore Sun

“Playing the title role of the opera was Lorna Haywood, the leading English language exponent of the Janacek repertoire. The native of Birmingham , England, couples a fine soprano with perceptive dramatic sense.” -- Baltimore Evening Sun

“In the title role, Lorna Haywood was admirable in voice and presence.” -- Baltimore News American

“Lorna Haywood’s Jenufa was beautifully sung and deepened in poignancy as the opera progressed. Act two was truly the experience one hoped for with Miss Haywood most affecting in her lament for her baby.” -- The Daily Telegraph, London

“Lorna Haywood, the eponymous heroine, is the first non-Czech soprano to sing the role in Prague. She is possessed of one of the finest voices I have heard, strong and even toned throughout its considerable range.” -- South Wales Echo

“Lorna Haywood immediately caught the attention with her strong, rounded voice of fine quality. Her mobile features, her gestures and even her peasant stride all indicated a finely and intelligently conceived characterization and a complete identification with this part.” -- Rand Dail Mail, Johannesburg South Africa

“Lorna Haywood created a very moving and genuine Jenufa. She not only looks the role, but also sings it beautifully with a sweet fullness of voice. -- Hoofstad, South Africa

“The depth of feeling in Lorna Haywood’s Jenufa cannot leave a person unmoved. Her warmth, the way she lives the role with loving dedication, the nuances she uses in her lovely voice, the beautiful development of her role, her grasp of Janacek’s idiom – all this makes her an ideal interpreter of Jenufa.” -- Oggenblad, South Africa

“Lorna Haywood’s Jenufa is extremely sympathetic. This British soprano is an excellent singer and an equally excellent actress. Her whole concept from the initially vulnerable, to the eventually proud Jenufa, had many outstanding moments.” -- Johannesburg Beeld, South Africa

“The new Jenufa is Lorna Haywood, a touching heroine with a warm response to the most grateful of Janacek’s soprano parts. Her voice is admirably clear and distinct.” -- The Sunday Times, London


“Lorna Haywood made a bold and credible Emilia Marty, commanding in tone and not without the dignity as well as something of the allure of a prima donna and versatile enough to suggest a multiple personality.” -- Daily Telegraph, London

“With her ample resources, attractive personality and fine stage presence, Lorna Haywood presented her own cogent portrayal of this operatic superwoman. She managed to dominate the stage and to concentrate all attention on her insoluble search. She coped well with the difficult tessitura of the role, being adept with the realistic parlando style of much of the earlier acts as well as with the big vocal set piece at the finale of the work.” -- Musical Opinion


“Involvement steadily mounted last night at the Sadlers Wells revival of Madama Butterfly, largely due to the stature of soprano Lorna Haywood’s performance in the name part. Miss Haywood had, indeed, vocal strength, but also a youthful clarity of tone and made Madama Butterfly’s inexorable dramatic progress in compelling fashion.” -- Daily Mail, London

“Lorna Haywood’s infinitely touching and splendidly sung Cio Cio San was a tower of strength. Her assumption of the title role was one which grew steadily throughout the opera until in the third act she was fully equipped to give a harrowing tension to Butterfly’s final minutes.” -- London Times

“Soprano Lorna Haywood’s portrayal of the hapless heroine was both vocally and dramatically superb. Her voice, clear and radiant as the full moon, was marvelously controlled and tailored to project the character of Butterfly, fragile in all but her emotions.” -- Atlanta Journal

“Chief among the assets at Saturday evening’s performance was the touching interpretation of the title role by Lorna Haywood, whose expressive soprano voice encompassed Butterfly’s childish wonder, gradual disillusionment and tragic sacrifice with equal success. Her voice is full, powerful, wide–ranging and appealing. -- St. Louis Globe-Democrat


“The revival of TOSCA at the Coliseum last night was chiefly remarkable for the performance of Lorna Haywood in the title role. With the looks and temperament, as well as the voice for this dramatically rewarding part, Miss Haywood is able to offer a characterisation of Puccini’s heroine that is subtle as it is effective.” -- Financial Times London, Elizabeth Forbes

“The evening was rightly dominated by the imperious and passionate portrayal of Tosca by Lorna Haywood, a striking woman, whose attractive stage presence impressed with her every entry, each one seeming more dramatic than the last. She has a warm, vibrant voice of the right volume so that there was no loss of her fine lyrical quality when she had to open up for her big climaxes.” -- Musical Opinion

“Miss Haywood has one particular quality that is absolutely vital for a convincing Tosca: a passionate abandonment to the character. She sings as a really fine Tosca should, as if she were in love with the music.” -- Financial Times, London


“Leonore seemed almost designed for the talent of the British soprano, who disclosed a remarkable affinity for both the lofty line, and the lofty sentiment, outclassing the efforts of many of her most fabulous counterparts.” -- Saturday Review, Martin Bernheimer

“Miss Haywood sang and acted a ‘Leonore’ that outclasses her most famous counterparts. Her voice is large, warm, beautifully schooled and nicely focused in all registers, and it is used with real taste and dramatic urgency.” -- Opera Magazine


“Lorna Haywood’s Chrysothemis showed the human warmth and vulnerability rejected by Elektra. In purely vocal terms she was the star of the evening. Her voice was pure and well balanced from top to bottom: her acting of the only really sympathetic character in the opera was moving.” -- Fort Worth Star Telegram



“The English soprano created a Mimi who was visually lovely in a very natural way, sang with tone consistantly firm and full throughout her range and with fine intelligence.” -- St. Paul Dispatch

“Lorna Haywood sang Mimi and combined the opulent voice demanded by Puccini of his heroines with a physical appearance consistent with the final stages of consumption. She phrased both her farewell and the death scene in a manner guaranteed to melt the stoniest heart.” -- Opera


“Lorna Haywood’s Nedda seems to me a classic operatic performance.” -- Opera

“Lorna Haywood’s passionate Nedda, a blend of fatalism and expectancy, is familiar. She sings with a searing intensity that is never allowed to spoil the vocal line.” -- Financial Times, London

“Vivid performances, especially from Lorna Haywood, impeccably cast as the flighty Nedda. Strong lurid stuff,well sung and well acted.” -- Evening Standard, London


“Lorna Haywood’s interpretation of Donna Anna was the best we have heard – and we have heard the world’s most dazzling divas sing this part.”  -- Sun Press, Cleveland


“Lorna Haywood, the Fiordiligi, was fragile, gentle, lyrical and unexaggerated, nimbly negotiating the sensationally wide intervals of ‘Come scoglio’, phrasing beautifully and in tune.” -- Baltimore Sun

“Lorna Haywood displayed a talent for comedy in the role of Fiordiligi. She has a velvet -smooth soprano voice with a wide range.” -- Baltimore Evening Sun

“Lorna Haywood was especially impressive in her two arias. Not only was her voice crystal clear, but her pinpoint accuracy was marvelous. It was a masterful performance,” -- WRLX Radio, Baltimore


“Lorna Haywood, with a lovely sheen of tone and a giddy sense of high comedy as Lady Billows, stood out in the excellent cast.” -- Saturday Review


“Lorna Haywood, as the ‘Female Chorus’, sang with a marvelous awareness of the responsibilities of her part and with a luminous tone that was quite wonderful to hear.” -- Washington Post


“A delightful new ‘Marenka’ who balances verbal and musical inflexion in that way which turns opera into music drama.” -- Financial Times, London, Andrew Porter


“Lorna Haywood does a splendid job as ‘The Merry Widow’. With a winning stage presence and a richly projected manner of singing, Miss Haywood easily holds stage center when she is on it.” -- Denver Post



“Vocally, this production began well with a compelling ‘Aida’ in the person of Lorna Haywood. A sensitive actress and technically accomplished singer, Miss Haywood delivered a convincing portrait of nobility put to the test by divided loyalties. She was an uncommonly real ‘Aida’." -- Milwaukee Sentinel

“Lorna Haywood’s ‘Aida’ is another star in her crown.” -- Columbus Dispatch

“Lorna Haywood as Aida was especially outstanding. The purity and weightlessness of Haywood’s voice evoked the poignancy of Aida’s plight, and her sensitive impassioned shaping of the musical line enhanced the role with nobility and yearning compassion.” -- Isthmus, Madison


“Lorna Haywood was a stunning, exceptionally vital Sieglinde, radiant in voice and in presence.” -- San Francisco Chronicle

“The ‘Sieglinde’ of Lorna Haywood was a thrillingly sung and personified assumption of this crucial part, in fact, an ideal one.” -- Daily Telegraph, London

“Haywood’s handsome soprano traced the Wagnerian line unerringly, while her declamation added textual colors and appropriate meanings. She indicated, with telling demeanor and facial expression, the precise inner activity of Sieglinde’s character at any given moment.” -- Los Angeles Times


Haydn’s “The Creation” -- Atlanta Symphony Orchestra, Robert Shaw

“Lorna Haywood was outstanding. Miss Haywood has a bright clear soprano voice which shone through the chorus and orchestra like polished gold. She sang her principal aria ‘On mighty wings’ magnificently.” -- Atlanta Journal

Haydn’s “The Seasons” -- Cincinnati Symphony , Robert Shaw

“Miss Haywood’s voice is just the apt, clean, no-nonsense, clear sound Haydn wrote ‘The Seasons’ for, and she displayed impeccable musicianship in her phrasing and and interpretation. It is a joy to hear a singer like this, one who seemingly was less concerned about herself than about the music of Haydn, one who sang every note, every turn and embellishment in the best possible taste.” -- Cincinnati Post & Times Star

Handel’s “Samson” -- With Richard Tucker Carnegie Hall, Stephen Simon

“Lorna Haywood was outstanding. The most worthwhile moment of the entire performance came with Miss Haywood’s cooing aria ‘With plaintive notes’. -- New York Times

“Lorna Haywood used her crystalline soprano to maximum effect as ‘Dalila’. No vocal feat seemed difficult; she graced the line with her style, and the evening with the sheer sound of her voice.” -- The New York Post

“Lorna Haywood’s ‘Dalila’ was sheer delight. She knows what she is singing about – she sang the music with a charm and virtuosity which made the listener tremble for Samson and the glorious outcome of the oratorio.” -- The Jewish Week

Handel’s “Ariodante” -- Kennedy Center, Washington D.C., Stephen Simon

“As ‘Ginevra’ Lorna Haywood was ravishing.” -- Washington Post

“Soprano Lorna Haywood rose to the challenge of Handel’s elevated writing and turned in a performance that conveyed great nobility of sentiment.” -- Washington Star

Handel’s “Hercules” -- Kennedy Center, Washington D.C., Stephen Simon

“Lorna Haywood has always managed to create her roles with utter perfection on the concert stage. Her singing and diction are exemplary, and she is a great master in the art of coloratura singing. Haywood moved us to tears. This was great singing of magnificent music by a moving oratorio singer.” -- The Jewish Week

Handel’s “Deborah” -- Music of the Baroque, Chicago

“In the title role. Lorna Haywood wielded her full , clear, pliant and vibrant voice with great agility and a firm nobility of utterance. She was a model Handelian.” -- Chicago Tribune

Britten’s “War Requiem”

“Lorna Haywood, in radiant voice, led the music along with magnificent steadiness and certainty.” -- The Manchester Guardian, England

Schoenberg’s “Gurrelieder”  -- Atlanta Symphony, Robert Shaw

“Lorna Haywood sang the part of ‘Tove’, her clear tones cutting through the enormous orchestra like beams of light.” -- The Atlanta Journal

Beethoven’s “Missa Solemnis”  -- Chicago Symphony, Jean Martinon

“Lorna Haywood was making her debut with the Symphony. Purity of tone and intonation stood her in good stead. She was expressive and musical, commanded a clean top B flat and C and seemed fully at home in an exceptionally strong quartet.” -- The Chicago Tribune

Beethoven’s “Missa Solemnis”

“Lorna Haywood soared above the ensemble untiringly and with beauty as well as power.” -- New Haven Register

Beethoven’s “Missa Solemnis”

“The singing of Lorna Haywood was like a high intensity beam” -- San Francisco Examiner

Verdi’s “Requiem” -- Minnesota Orchestra, Skrowaczewski

“The most outstanding was soprano Lorna Haywood. Miss Haywood’s ‘Libera me, Domine’ was the solo highlight of the evening.” -- The Minneapolis Star

Verdi’s “Requiem” -- San Fransisco Symphony, Edo DeWaart

“Lorna Haywood sang powerfully, her soprano a beacon.” -- San Francisco Chronicle

Mahler’s Symphony No 2 -- Cleveland Symphony Orchestra, Bernstein

“Soloists Christa Ludwig and Lorna Haywood brought rich, full voices to the work, with no trace of vocal mannerisms or idiosyncrasies.” -- The Cleveland Press