Costumed first as a Weimar Republic cross-dresser and then as a school boy, Louise Mott (Muse/Nicklausse/Antonia's Mother) filled her expansive lines pliantly and sympathetically.

Also a mention to Louise Mott, a hilarious Marcellina.

The soprano, Tessa Spong, and mezzo-soprano, Louise Mott, contrasted well in their second-scene duet; Mott's extended recitatives had a glowing clarity - a very fine team of soloists.

'Louise Mott, the mezzo soprano, is a very dramatic singer with good coloratura and was partnered with baritone David Stephenson very successfully in extracts from The Barber of Seville.'

Mott has a firm and focused mezzo voice that is able to move easily across the vocal range demanded... particularly effective in [Boughton's] dramatic songs. Given that there is a tendency for some of these settings to drift toward the ballad in feel, Mott makes a virtue of that by lightening her vocal style to great effect. Full texts are provided (in English only) but Mott’s beautifully clear diction means they are only required for reference.

Bringing that about were a strikingly sung Roman Governor... appallingly hen pecked by his even more stunningly sung wife (Louise Mott), the real wearer of the toga.

Mezzo soprano Louise Mott gave one of the most dramatic performances of the show as Marcella, the hard-nosed wife of the governor.

Louise Mott delivered each showcase aria with passion and precision.

The singing is very good, with Louise Mott (Penelope) and Sadhbh Dennedy (Nausicaa) outstanding in their roles.

On the way, pretensions were popped, heartstrings tugged... Last but one, a woman meditated on an impending stillbirth, beautifully sung by Louise Mott.

Louise Mott is outstanding as Angela, whose baby is still-born.

Louise Mott is a circus ringmistress with a line in hypnotism, her gear, from guns to lipstick, stashed in her memorable embonpoint. Mott is full of fury, sorrow and unconquerable love.

...as Ariodante, Louise Mott sings with persuasive freedom...

Louise Mott sang (the role of Ruggiero) with aplomb. Hers is not a powerful voice but agile, expressive and beautiful nevertheless.

...Apollo et Hyazinthus ­with its translucent, harpsichord-dominated textures, effortless Stravinskian wit and spare, final, affecting setting of Georg Traki's poetry for a mezzo-soprano ([sung by]the excellent Louise Mott) ­proved totally compelling...

"A subdued episode when a woman mourns her dead husband had seemingly little place in the sketchy plot, but provided a welcome opportunity to hear Louise Mott, a polished and expressive mezzo."

Louise Mott rightly underplayed Agrippina's villainy with the straightest of faces and sang with consistently beautiful and expressive mezzo tone.

There were no weak links in the cast, but the women had the best of it.  Louise Mott's Agrippina was simultaneously a treacherous schemer and a mother with tender feelings.

Louise Mott's searingly intense performance [of Blind Mary] caught both the mythical and human dimensions of the role. She achieved a superb mastery of the supernatural emotional and musical range of the part - from the inwardness of her opening humming, which seemed to colour the dark silence of the auditorium, to her final, impassioned railing aganist the cycles of sacrifice and death. And this brilliant vocal display was complimented by the strength of Mott's dramatic characterization. In the concluding scene, the Blind Woman miraculously regains her eyesight. But there was little sense of hope in Mott's performance, as her blindness had become a metaphor for the lack of vision and understanding among the warring men. Mott's Blind Woman remained unaffected by the impassive, plainchant-inspired chorus of Saints. She continued as desolate and desperate as before lighting and extinguishing a single candle while imploring the audience to consider when the senseless suffering and cruelty will cease.

Louise Mott is very exciting [as Erika] in this show-stealing part - thanks to the powerful and wonderous soft sheen in her voice.

Louise Mott's firm, satin-sheeny tone was perfect for Dido: her poised singing of the Lament held the full, appreciative house breathless.

Louise Mott sang with opulent tone and a musical sensibility that did full justice to Turnage's soaring vocal lines.

But it was Louise Mott's orgasmic act two 'Love Aria', in which she hymned the 'flowing river' of Eddy's body while crawling on all fours across the floor of their now up-market cafe, that hit the emotional G-spot of the evening.

A quite remarkable Serse...lovely of timbre, virtuosic, exciting in the delivery of her two great bravura numbers...