Frasquita (Fleur de Bray) provides some knockabout humour... letting [her] soprano shine'
- Amanda Holloway, The stage, November 2022
'Fleur de Bray dazzles with her trills and mesmerises with her arpeggios as soprano Katherina Cavalieri'
- Peter Yates, London Theatre 1, January 2018
'An adored Viennese soprano (lustrously sung by Fleur de Bray) is wheeled in on a portable dais'
- Michael Billington, The Guardian, January 2018
'While the Symphonia beautifully entrances you with Mozart’s genius, de Bray’s Cavalieri takes their groundwork and electrifies you with the song. Having to literally nail the “best bits” from Mozart’s operas, each moment leads to the first staging of The Magic Flute (an opera that makes utterly no sense, but like A Midsummer Night’s Dream, is enchanting), where lifted onto a column, de Bray’s Cavalieri sings Der Hölle Rache and, frankly, blows us all away. Any lingering doubts about Mozart’s genius are gone. On stage before us, de Bray towers and her voice soars, lifting us, into those moments that we wish we could never leave.'
- Matthew Bone, http://www.boneyabroad.com/reviews/nt-amadeus, January 2018
'Fleur de Bray is particularly impressive as Salieri’s favourite soprano and delivers several of Mozart’s best known and most difficult pieces with great aplomb'
http://www.50connect.co.uk/articles/amadeus
November 2016
'together with some acrobatic singing — especially by Fleur de Bray as Salieri’s favourite soprano — means that we get a keen sense of Mozart in the very midst of creating a masterpiece.'
- Henry Hitchings, The Standard, October 2016
'It was the duos that appeared to be the highlight of the show’s casting, as Mercedes (Olivia Barry) and Frasquita (Fleur de Bray) captured a much-needed comic essence. These ladies really took their chance to shine in their extended duet scene in the second act, receiving an uproarious reception from the audience with their carefully timed gags.'
- Mark McClosky, Thoroughly Modern Milly, 12th May 2012
'The cast sang excellently, Fleur Bray (Frasquita) and Olivia Barry (Mercedes) especially providing comedy to counteract the high drama.'
- Ed Gizzle, 22nd April 2012
Fleur de Bray’s Frasquita and Olivia Barry’s Mercedes make a great double act as
they exchange musical repartees in a bawdy, comical style, with both their
voices complementing one another well.
- James Buxton, UK Theatre Network, 11th April 2012
'Fleur de Bray, whom we heard as Rosalinde in Opera South East's production of Die Fledermaus, sang a very touching Mimi, and looked and sounded lovely in the role.'
- Angela Goodall, Words and Music Magazine, 6th November 2010
'Fleur de Bray proved the versatile performer she is by taking on the dowager queen with complete conviction, and the best part of the whole drama was her scolding aria ‘Regard, O son, my flowing tears’, in which he reacted like a surly teenager.'
- Robert Beale, City Life, 25th January 2010
'Fleur de Bray (Queen Nitocris) opens with a long and difficult solo prologue to ‘set the scene’ and this she brought off well. Her elegant soprano voice carried across the large orchestra without difficulty and she showed strength when communicating with her son Belshazzar in the second part.'
- Raymond J Walker, Seen and Heard International, 23rd January 2010
'Some seem to be naturals. Fleur de Bray, as Cunegonde, is a marvellous comic actress and can sell a song. That was evident, above all, in a superb Glitter And Be Gay, but she can even sell a song when she’s not singing it – witness her reactive role to Candide’s final, passionate outpouring in Nothing More Than This – which rightly came over as the emotional peak of the piece.'
- Robert Beale, City Life Review, 2nd July 2009
'Fleur de Bray sang Belinda's supportive role with admirable understanding'
- Douglas Riiough, Skipton Music Review, 13th January 2009
'Fleur de Bray as Adele, Rosalinda’s maid, immediately set the tone of the performance as an actress with her well-articulated spoken dialogue...she gained confidence to give an outstanding performance in all aspects of the role with her Act II aria, My dear Marquis complete with coloratura and trill, being justifiably well applauded.'
- Robert J Farr, Seen and Heard International, 2nd December 2008
- Amanda Holloway, The stage, November 2022
'Fleur de Bray dazzles with her trills and mesmerises with her arpeggios as soprano Katherina Cavalieri'
- Peter Yates, London Theatre 1, January 2018
'An adored Viennese soprano (lustrously sung by Fleur de Bray) is wheeled in on a portable dais'
- Michael Billington, The Guardian, January 2018
'While the Symphonia beautifully entrances you with Mozart’s genius, de Bray’s Cavalieri takes their groundwork and electrifies you with the song. Having to literally nail the “best bits” from Mozart’s operas, each moment leads to the first staging of The Magic Flute (an opera that makes utterly no sense, but like A Midsummer Night’s Dream, is enchanting), where lifted onto a column, de Bray’s Cavalieri sings Der Hölle Rache and, frankly, blows us all away. Any lingering doubts about Mozart’s genius are gone. On stage before us, de Bray towers and her voice soars, lifting us, into those moments that we wish we could never leave.'
- Matthew Bone, http://www.boneyabroad.com/reviews/nt-amadeus, January 2018
'Fleur de Bray is particularly impressive as Salieri’s favourite soprano and delivers several of Mozart’s best known and most difficult pieces with great aplomb'
http://www.50connect.co.uk/articles/amadeus
November 2016
'together with some acrobatic singing — especially by Fleur de Bray as Salieri’s favourite soprano — means that we get a keen sense of Mozart in the very midst of creating a masterpiece.'
- Henry Hitchings, The Standard, October 2016
'It was the duos that appeared to be the highlight of the show’s casting, as Mercedes (Olivia Barry) and Frasquita (Fleur de Bray) captured a much-needed comic essence. These ladies really took their chance to shine in their extended duet scene in the second act, receiving an uproarious reception from the audience with their carefully timed gags.'
- Mark McClosky, Thoroughly Modern Milly, 12th May 2012
'The cast sang excellently, Fleur Bray (Frasquita) and Olivia Barry (Mercedes) especially providing comedy to counteract the high drama.'
- Ed Gizzle, 22nd April 2012
Fleur de Bray’s Frasquita and Olivia Barry’s Mercedes make a great double act as
they exchange musical repartees in a bawdy, comical style, with both their
voices complementing one another well.
- James Buxton, UK Theatre Network, 11th April 2012
'Fleur de Bray, whom we heard as Rosalinde in Opera South East's production of Die Fledermaus, sang a very touching Mimi, and looked and sounded lovely in the role.'
- Angela Goodall, Words and Music Magazine, 6th November 2010
'Fleur de Bray proved the versatile performer she is by taking on the dowager queen with complete conviction, and the best part of the whole drama was her scolding aria ‘Regard, O son, my flowing tears’, in which he reacted like a surly teenager.'
- Robert Beale, City Life, 25th January 2010
'Fleur de Bray (Queen Nitocris) opens with a long and difficult solo prologue to ‘set the scene’ and this she brought off well. Her elegant soprano voice carried across the large orchestra without difficulty and she showed strength when communicating with her son Belshazzar in the second part.'
- Raymond J Walker, Seen and Heard International, 23rd January 2010
'Some seem to be naturals. Fleur de Bray, as Cunegonde, is a marvellous comic actress and can sell a song. That was evident, above all, in a superb Glitter And Be Gay, but she can even sell a song when she’s not singing it – witness her reactive role to Candide’s final, passionate outpouring in Nothing More Than This – which rightly came over as the emotional peak of the piece.'
- Robert Beale, City Life Review, 2nd July 2009
'Fleur de Bray sang Belinda's supportive role with admirable understanding'
- Douglas Riiough, Skipton Music Review, 13th January 2009
'Fleur de Bray as Adele, Rosalinda’s maid, immediately set the tone of the performance as an actress with her well-articulated spoken dialogue...she gained confidence to give an outstanding performance in all aspects of the role with her Act II aria, My dear Marquis complete with coloratura and trill, being justifiably well applauded.'
- Robert J Farr, Seen and Heard International, 2nd December 2008
