CONCERT and ORATORIO
* Stabat mater (Dvorák) Melbourne Philharmonia Choir and Orchestra, Andrew Wales, Melbourne Town Hall, 2005
* Stabat mater (Dvorák) Prague Chamber Orchestra, Graham Abbott, Perth Festival, 2004
Radiant both vocally and visually…was soprano Lisa Harper-Brown whose fine voice ought to be far more heard in her hometown.
The West Australian
…soprano Lisa Harper-Brown’s magnificently controlled singing provided passages of infinite beauty.
*Invitation to a Voyage Downstairs at the Maj, Perth, His Majesty’s Theatre, Richard John (piano), Paul Tanner (percussion), 2004
The tall, elegant singer with the powerful voice has learnt her craft well at Opera Australia and she is a fine interpreter of the classical song. She sings Charpentier with great feeling, yet can quickly turn to comedy- as evidenced by her selection of ditties from Leonard Bernstein.
Her comic flair continued with a scene from Bernstein’s ‘Trouble in Tahiti’… performed by Harper-Brown with dashing accompaniment... adding a unique set of textures to Harper-Brown’s versatile vocals.
Ron Banks, The West Australian
* Anzac Day Concert, Dona Nobis Pacem (Vaughan-Williams), Melbourne Philharmonia Choir, Andrew Wales, 2004
Soprano Lisa Harper-Brown … showed her sympathy with the work in a considered, stately approach and her voice's sound-colour had clear resonances with this style of British occasional music.
Clive O'Connell, The Age, Melbourne
* Krönungs Messe KV 317 (Mozart), Monash University Chorale, Melbourne, 2003
* The Terrace Proms Festival, Australia Place, Western Australia, Sara Macliver (soprano), Graham Gilling (piano), 2002
The Baroque bracket was sung with the utmost sense of style. The two voices complimented each other, and the flexible use of ornamentation was a revelation. In particular, the Monteverdi duet’s grinding dissonances were given a full play before resolving meltingly. It was sumptuous singing.
* Requiem (Mozart), Monash University Chorale, St Paul’s Cathedral, Melbourne, 2002
* Mozart by Moonlight Concert Series, The Amadeus Players, Sydney’s Royal Botanic Gardens, Sydney, 2001
* SYDNEY 2000 OLYMPICS OPERA GALA, Sydney Opera House, 2000
* Symphony under the stars, Sydney Symphony Orchestra, Sydney Festival, 1999
Lisa Harper-Brown...the clarity and precision of her voice had the crispness of summer wine. Yes, thank you, some more please!
Sydney Morning Herald
* Mozart by Moonlight Concert Series, The Amadeus Players, Sydney’s Royal Botanic Gardens, 1998
* ‘Vienna, City of My Dreams’, Australian Pops Orchestra, Andrew Greene, Melbourne Concert Hall, Perth Concert Hall, Sydney Opera House, 1997
* Knoxville: Summer of 1915 (Barber), Melbourne Symphony Orchestra, 1996
Soprano Lisa Harper-Brown sang with excellent diction, a strong, clear voice and a commanding stage presence.
Suzanne Yanko, The Age, Melbourne
* Messiah (Händel), University of Western Australia Choral Society, 1996
* Mozart by Moonlight Concert Series, The Amadeus Players, Sydney’s Royal Botanic Gardens, 1996
* Vier Letzte Lieder (Strauss) Young Professionals Orchestra, Benjamin Hur, Perth, 1996
* Exultate Jubilate (Mozart), West Australian Symphony Orchestra, 1996
* Opera in the Bowl, Myer Music Bowl, State Orchestra of Victoria, 1996
* Symphony of Sorrowful Songs (Gorecki), University of Western Australia Orchestra, Peter Moore, Fremantle Prison, 1995
Lisa Harper-Brown, soprano, is capable of a grave and steady quality as well as depth, and the voice was employed here with a restrained sense of theatre and occasion as well as musicality. It was clear the audience found this a moving occasion as she projected a stream of unforced sound that evoked the essence of these laments.
The West Australian
* St Matthew Passion (Bach), Perth Oratorio Choir, Robert Braham,1995
Lisa Harper-Brown’s voice has a voice reminiscent of Dame Janet Baker. She sang the demanding soprano arias well, achieving an effortless flow in the long melismas. Her warm vocal tone was an admirable foil for the instrumental obbligati which abounds in the arias.
Arts Wes Magazine, Western Australia
* Elijah (Mendelssohn) Downside Abbey, Stratton-on-the Fosse, 1995
* European Recital Tour, 1994 with Richard John (paino)
Florence, Den Haag, Malaga, Fuengerola, Spain, Oxford,
St. James’s, Piccadilly and St. Martins in the Fields, London
* Deutsches Requiem (Brahms), West Australian Symphony, Robert Braham,1994
Lisa Harper-Brown produced a stream of ringing, finely pitched sound, that projected effortlessly into the auditorium.
Neville Cohen, The West Australian
* Elijah (Mendelssohn), University of Western Australia Orchestra, 1993
She sang with calm assurance, her expressive phrasing spinning a mood of desolation in the aria ‘For love my Saviour now is dying’.
If, however, Mendelssohn had had a vocal soloist the calibre of Lisa Harper-Brown, he would have surely been far less at risk from the effects of high blood pressure.
Harper-Brown, in fact, was in admirable form, not least in Hear ye, Israel, that most inspired of utterances. Confidently placed top notes and ringing vocal tone made this a solo highlight.
The West Australian
* Vespers (Mozart), University of Western Australia Orchestra,
Of the four soloists Lisa Harper-Brown was heard to best advantage. Her presentation of the Laudate Dominum was most stylish and confidently projected.