" a superlative soprano."
Goldilocks, The Opera Story, Clive Boursnell for the Observer, March 4th 2018
'Throughout the performance, Alice Privett herself often seemed bewitched as she proceeded through the sequence of twenty-one songs, as if consumed with their spirit of hypersensitivity and nervous receptivity towards the array of startling visions recounted in them....she skillfully encompassed a wide range of vocal expressions, contrasting the two extremes of sung and spoken delivery in Mondestrunken, stealing in with almost a whine for Madonna before passing through a passage with nonchalant indifference, but ending up with a note of desperation and then passing on to the quiet hesitation of Der kranke Mond and to a tone of mystery, enunciated sotto voce, for Nacht. In those passages – usually brief – where the temper of the score becomes restless or extrovert, Privett remained in musical control such that her performance avoided issuing into hysteria.'
(Pierrot Lunaire, Oxford Lieder Festival, Curtis Rogers for Seen and Heart International, October 17th 2017)
'The soprano Alice Privett, stepping in at very short notice, was a faultless soloist in Zemlinsky's scarecely known and voluptuous short work for voice and string sextet, Maiblumen blühten überall"
Fiona Maddocks for the Guardian, 29th October 2017
'The Schubert was utterly magical. Privett’s beautifully focused tone turned the shepherd-lad’s expression of loneliness into a real tear-jerker, while the return of spring brought back joy and caprice, shared equally between the trio. Here is a soprano whose poise and musicality suggest another Felicity Lott in the making.' (Shepherd on the Rock, Ryedale Festival, York press, July 25 2017)
'led by British soprano Alice Privett, ardent and powerful in the title role'
- Fiona Maddocks for the Guardian, 2017 (production: Snow)
'Alice Privett as Romilda was an operatic heroine in the grand style, with a voice of velvet and steel'- Birmingham Post 2015, '
'Alice Privett’s Romilda– Xerxes’s amorous target – is tall, willowy, with sparkling coloratura and vivid colours in the voice' - Arts Desk 2015, Xerxes Longborough Festival Opera
"She was the most accomplished in the Baroque style and she sang with elegance and honesty." - Backtrack 2015, London Handel Competition Final
"The most “finished” voice of the day belonged to British soprano Alice Privett. Privett’s.. command of its colours and movement is striking, and she’s a natural performer." Arts desk 2015, London Handel Competition Final
"In Messiaen’s ‘L’amour de piroutcha’ from the song cycle Harawi, they found their niche and showed great composure, Privett’s silky phrasing supported by Vindin’s subtly understated accompaniment, conveying the song’s strange mystical quality. Handel’s ‘Let the bright seraphim’ had a brassy brightness and allowed Privett to show off her breath control and neat trills."
- Claire Seymour, Opera Today, Kathleen Ferrier Competition final 2015
"Privett was exquisitely tender in her phrasing of Oriane’s distress" - The Arts Desk, 2015
"Alice Privett portrayed the Cock, in a delightfully well-observed performance, as a strutting, pompous, moustachioed wide-boy with an enormous codpiece. The moment when the Vixen ripped off his huge loin-bulge with her bare teeth was simultaneously hilarious, shocking and even Oedipally satisfying" - Opera Magazine, 2014