Rhiannon Llewellyn expresses appropriately greater aristocratic composure in characterising the part of the Countess, depicting her outrage at her husband’s flirtation with Ernestina, and in the longer, lyrical lines of her self-pitying outpouring which look ahead to the two great arias for the Countess in Figaro.

21 July 2017, Classical source

Stravinsky The Rake’s Progress – Royal Academy Opera – Anne Trulove – March 2015

Rhiannon Llewellyn had all you could want – clear, accurate high notes especially – as a tender but spirited Anne Trulove.”

22 March 2015, The Observer

…Rhiannon Llewellyn sang Anne delectably – the way she managed transitions into the chest register was a special and unusual pleasure.”

April 2015, Opera Magazine

…Anne was sung, with radiant intensity, by Rhiannon Llewellyn…

21 March 2015, The Spectator

Rhiannon Llewellyn’s Anne combined grace and beauty to a properly euphonious degree; her first act aria was very fine indeed.

20 March 2015, Seen And Heard International

Rhiannon Llewellyn as Anne Trulove brought a lovely tenderness to the role that peaked in the Act III lullaby. She possesses a warm tone quality and the voice really shone when she let it go… she is certainly an artist to follow.

19 March 2015, Bachtrack

Lampe The Dragon of Wantley – London Handel Festival – Mauxalinda – April 2015

The four singers attacked every word with gusto… As maidens Mauxalinda and Margery, Rhiannon Llewellyn and Susanna Fairbairn stole the show, their extended cat-fight an exuberant expression of unsisterly conflict.

8 April 2015, Evening Standard

Rhiannon Llewellyn made a fine contrast, playing Mauxalinda the standard opera seria trope, the woman scorned and bent on revenge. Llewellyn has a vibrant soprano voice which was used with skill. She was delightfully vituperative and her scene where she has it out with Fairbairn’s Margery was a great comic delight, being a lovely send-up of such moments in opera seria.

8 April 2015, planethugill.com

Puccini Gianni Schicchi – Royal Academy Opera – Nella – November 2014

Again, the ensemble performance was terrific, but particularly memorable were the silky diction of Rhiannon Llewellyn as Nella, and the imposing sounds made by Tristan Hambleton as Simone and the two Bettos, Božidar Smiljanić and Alistair Ollerenshaw.

February 2015, Opera Magazine

Handel Rinaldo – Longborough Festival Opera – Armida – July 2014

As Armida, demon sorceress and secret weapon of Rinaldo’s opponent, the tiger-taming King Argante (soprano Rhiannon Llewellyn) is vocally nuanced while appearing brazenly sexy.

25 July 2014, The Guardian

Rhiannon Llewellyn was excellently cast as the sorceress Armida, with bold dramatic choices in her acting which portrayed the fiery, passionate and capricious nature of her character, as well as performing some terrific singing. She had an easy agility for the runs and a wonderful control to her voice, able to diminuendo to pianissimo with expression, which was well demonstrated in the second half of Act II.

Early Music Review

Musically and dramatically this production was tremendously satisfying, and such was the standard it was difficult to tell the newcomers and more experienced singers apart… haughty Rhiannon Llewellyn frightened the life out of me as the domineering and threatening Armida.

25 July 2014, Seen And Heard International

Handel Ariodante – Royal Academy Opera – Dalinda – March 2014

Rhiannon Llewellyn gives a subtle, delightfully sung performance as the easily swayed Dalinda.

24 March 2014, The Times

The cast was stunning. There was real maturity in these young voices, with strength and control and astonishing technique all round… Rhiannon Llewellyn sang Dalinda with art.

Opera Now

Rhiannon Llewellyn’s Dalinda was at once sensual and maternal, and wonderfully animated throughout. Polished and mature, she acted with sophisticated emotion and engaged the audience from the start with her beguiling soprano.

25 March 2014, Bachtrack

Rhiannon Llewellyn as Dalinda (Ginevra’s lady-in waiting) was the most consistently satisfying role in terms of musical projection and interpretation, by no means becoming a mere foil for her mistress.

20 March 2014, Classical Source

Humperdinck Hänsel und Gretel – Garsington Opera – Sandman – June 2013

…Rhiannon Llewellyn is even younger, being still on the post-graduate programme at the Royal Academy, but she sings the important cameo role of the Sandman with great confidence and clarity.

The Mail On Sunday

Both delivering their cameo appearances with perfect neatness, Rhiannon Llewellyn’s Sandman – with an eerie suggestion of Nosferatu in her makeup and costuming – and Ruth Jenkin’s Dew Fairy, more saccharine in her appearance – complete a strong cast.

25 June 2013, The Guardian

…Fuchs depiction of the Sandman at the end of act two (finely sung by Rhiannon Llewellyn) had been genuinely creepy and avoided the cutesy… Both Rhiannon Llewellyn, as the Sandman, and Ruth Jenkins as the Dew Fairy, contributed beautifully poised accounts of their arias.

24 June 2013, Opera Today

The Sandman (Rhiannon Llewellyn) and Dew Fairy (Ruth Jenkins) were both beautifully sung and suitably magical.

23 June 2013, Classical Source

Two operatic newcomers impress in smaller roles: Rhiannon Llewellyn, currently at the Royal Academy of Music, is a Nosferatu-like Sandman, and Ruth Jenkins a perk Dew Fairy in tartan tutu.

Sunday Express

They were supported by an exceptional cast, finely characterized by this imaginative and sensitive director… Rhiannon Llewellyn was a sweet-toned Sandman, the bringer of nightmares rather than dreams in this version…

24 June 2013, Music OMH

“There is fine singing from Rhiannon Llewellyn as the Sandman…”

4 July 2013, Oxford Times

“The supporting cast is excellent in Rhiannon Llewellyn’s eerie Sandman and Ruth Jenkins’ sugar sweet Dew Fairy.”

28 June 2013, Daily Info, Oxford

Guest soloist with the Waverley Singers, Farnham – June 2013

A sell-out audience of 270 enjoyed a sumptuous celebration of music at the Waverley Singers Summer concert at St. Thomas-on-the-Bourne Church on Saturday, June 15. Unfortunately, the choir’s guest soprano was forced to withdraw less than 24hrs before the concert, but her replacement, Rhiannon Llewellyn, who is currently singing at Garsington Opera, proved more than equal to the task and delighted the audience with her charm, musicality and humour in singing arias from La Bohème, Manon, Summertime (Porgy and Bess), as well as Handel’s Let the Bright Seraphim and Mozart’s Laudate Dominum.

Petersfield Herald

Guest soloist with the London Welsh Male Voice Choir, Romsey Abbey – April 2013

The concert experience was enhanced by our principal soloist Rhiannon Llewellyn who showed her vibrant personality as well as her superb soprano voice.

6 April 2013, LWMVC

Song recital with Matthew Fletcher at the Colston Hall – March 2013

Richard Strauss… beautifully sung with great control… Rhiannon chose the poignant Summertime which she sang with heartfelt feeling… The soloist gave a masterly display ably accompanied by Matthew Fletcher on the piano throughout.

27 March 2013, The Bristol Post

Handel Messiah – Welsh Sinfonia under Mark Eager – Llandaff Cathedral – December 2012

Soprano Rhiannon Llewellyn was quite possibly the star of the night. Her pure angelic sound was mesmerising, and by the end of But Who May Abide the interaction between her high notes and the strings was stunning. There Were Shepherds was also a clear highlight, with Llewellyn’s voice filling the cathedral.

4 December 2012, Wales Online/Western Mail

The Nightingale and the Rose – 2011

There were, however, powerful performances in both acts – particularly from Dorothea Herbert as the mad Scarlett and Rhiannon Llewellyn as The Nightingale…

6 July 2011 Buzz Magazine

Afrodisiac Tour – 2010

…Rhiannon Llewellyn delivered the vocal lines to bewitching effect.

18 October 2010, The Guardian