Reviews
Zoe South...moved the occasion to a whole new plane as soon as Brünnhilde awakened, with a "Heil dir, Sonne!" of such power and magnificence that we were all rocked back on our feet and the walls of the church seemed to expand.
Brünnhilde, Siegfried - Wagner News
Zoe South sang a profoundly moving and quietly communicative Liebestod.
Isolde, Tristan und Isolde (Act II & Liebestod), Palace Opera - Seen and Heard International
Zoe South as Brünnhilde sang her fearsomely difficult part with unforced ease.
Brünnhilde, Götterdämmerung, Fulham Opera - Seen and Heard International
The performance of the night came from Zoe South, whose Madame Lidoine had a radiant certainty...and whose voice soared with Isolde-like glory.
Madame Lidoine, Dialogues des Carmelites, Midsummer Opera - Harmony Magazine, Music Club London
Zoe South's Wagnerian soprano had power and to spare for Miss Jessel's deceptively taxing role and made the ghostly governess unusually sympathetic in her memories of her tragedy and her longing for companionship in her afterlife.
Miss Jessel, The Turn of the Screw, Palace Opera - Harmony Magazine, Music Club London
Zoe South, predictably, took the place apart as Maddalena. La mamma morta soared and tore at the heartstrings as it should.
Maddalena di Coigny, Andrea Chenier, Midsummer Opera - Harmony Magazine, Music Club London
The marathon title role is a plum for a soprano who, like Zoe South...can tackle it with conviction and the right sense of scale. She swept from biting chest notes to powerful top Cs...always making vivid use of the text as an actress, under Lynne McAdam's canny direction, she knew just when less would be more.
Gioconda, La Gioconda, Midsummer Opera - Yehuda Shapiro, Opera Magazine
Zoe South is to be congratulated on a stellar performance as Brünnhilde. Her voice is supple, strong and beautiful, and her acting is impeccable...[she] makes this punishing role sound natural, fresh and full of tenderness, with a generous energy which does not wane or waver.
Brünnhilde, Der Ring des Nibelungen, Fulham Opera - Charlotte Valori, Bachtrack
A gripping, flammable low register pulled all the way back to a surprise pianissimo at the top of the Veil Song lulled me into a false sense of security; her O Don Fatale whipped the ground of Act 3 from under the King's feet, blew it straight out of the doors and against the side of the IMAX over the road. Thrilling.
Princess Eboli, Don Carlo, Midsummer Opera - Framescourer
South sang a frustrated, angry, all over the place emotional wreck of a woman, who ultimately wanted revenge. She presented us with complexity and passion in both voice and aspect...a dramatic turn by Zoe South (announcing her reason for kidnapping "The Man"), it was trully stunning, and as an audience member it literally smacked you in the face with its intensity.
The Woman, Hugill - When a Man Knows, Bridewell Theatre - Opera Britannia
