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OPERATIC ROLES

Erste Dame Die Zauberflöte, Hamburgische Staatsoper, 2006
Rosalinde Die Fledermaus, Nicholas Braithwaite, Opera Australia 2005
Musetta La Bohème, Peter Robinson, Opera Queensland, 2005
Ortilinde Die Walküre, Ascher Fisch, South Australian Opera, 2004
Belinda Dido and Aeneas, Opera Australia, 2004
Senta Der Fliegende Holländer, Opera Australia, 2003
Salome Salome, Sebastien Weigle, Opera Australia, 2003
Eva Die Meistersinger, Simone Young, OA, 2003
Contessa Le Nozze di Figaro, Ola Rudner, OA, 2002
Elsa Lohengrin, Sebastien Weigle/Johannes Fritzsch, 2001+2002
Agathe Der Freischütz, Patrick Summers, Opera Australia, 2002
Diana Orpheus in the Underworld, Emanuel Plasson, Opera Australia, 2003
Helena A Midsummer Night’s Dream, Roderick Brydon, Opera Australia, 2003 + 2000
Fiordiligi Così fan Tutte, Ola Rudner, Opera Australia, 2001
Gerhilde Die Walküre (Konzert Fassung), Sydney Symphony Orchestra, Edo de Waart, 1998 + 2003
Pamina Die Zauberflöte, Simon Kenway, Opera Australia, 1999
Erste Dame Die Zauberflöte, OzOpera: Opera Australia, Richard Gill, 1997
Rosalinde Die Fledermaus, Brian Stacey, West Australian Opera, 1996
Alcina Alcina, Graham Abbott, Perth Festival (WAO), 1996
Euridice Orpheus in the Underworld, West Australian Opera, 1995
Venus Orpheus in the Underworld, West Australian Opera, 1995
Erste Dame Die Zauberflöte, West Australian Opera, 1995
Frasquita Carmen, West Australian Opera, 1994

 

Reviews

La Bohème, Puccini, Opera Queensland, Arts Centre, 2005

The statuesque and very watchable Lisa Harper-Brown is a fiery and commanding Musetta, bringing Act 2 to life with her dramatic and flamboyant entrance.
Pacific Media Watch, John Henningham

Dido and Aeneas, Purcell, Opera Australia, Sydney opera House, 2004

Of the soloists, the strongest was Lisa Harper-Brown as Belinda, who sang with a bright, engaging focus, well-coloured depth and brilliance in the high register.
Sydney Morning Herald

Lohengrin, Wagner, Opera Australia, State Theatre,Victorian Arts Centre, 2003

Lisa Harper-Brown is outstanding as Elsa.
Herald Sun

…this Elsa looks like the heroine of one of those Pre-Raphaelite fantasies about knights and maidens by Burne-Jones. Definitely a Wagnerite.
Harper-Brown develops a convincing portrayal of vulnerable innocence from within. She possesses a refined soprano.
Sydney Morning Herald

Le Nozze di Figaro, Mozart, Opera Australia, State Theatre, Victorian Arts Centre, 2003

As Countess Almaviva, Lisa Harper-Brown was magnificent. Her tall stature and a shock of hair gave both comic and commanding stance.
Herald Sun

Le Nozze di Figaro, Mozart, Opera Australia, Sydney Opera House, 2002

Lisa Harper-Brown’s Countess Almaviva…excellent, she added a depth of musical perception to those two great arias.
Opera-Opera

Lohengrin, Wagner, Opera Australia, Sydney opera House, 2002

It was a night of superlatives. Soprano Lisa Harper-Brown made a heart-stopping debut as the tragic Elsa.
The Australian

Lisa Harper-Brown was both a curiosity and a genius of casting. With a vibrant and mellifluous soprano ideally suited to Mozart, Harper-Brown does not in any way suggest the archetype either in girth and vocal force. Instead her Elsa captures an enchanting combination of youth, purity and luminescence that might be otherwise lost on a weightier voice. The lightness of touch cleverly emphasizes Wagner’s extraordinary command of melody… when Elsa relates her dream,…a radiant and wholly engaging performance.
Opera-Opera

Cosi fan tutte, Mozart, Opera Australia, Sydney Opera House, 2001

Lisa Harper-Brown a knockout as a febrile Fiordiligi.
The Australian

That driven quality of character was suitably echoed in Harper-Brown’s singing…
I found the performance satisfying in a way that is rare at the opera.
Opera-Opera

The quality of the cast makes every move and expression tell. Lisa Harper-Brown presents a delightfully sensuous Fiordiligi, singing very musically, with a consistently focused tone, and adding all sorts of ambiguities to Fiordiligi’s reputedly intransient character by managing to carry more conviction in her fun-loving moments than in her expressions of outraged fidelity.
Sydney Morning Herald

A Midsummer Night’s Dream, Britten, Opera Australia, Sydney Opera House, 2001

…two voices claim particular attention…now add the lustrous Lisa Harper-Brown (a goofy, Joyce Grenfell-esque Helena) to the list.
Sydney Morning Herald

The Magic Flute, Mozart,Opera Australia, State Theatre,Victorian Arts Centre, 1999

Harper-Brown is the pleasure of the evening. She has a dark mezzo tone under her soprano. The voice is slightly steely but clear and accurate.
The Age

Harper-Brown’s gestures and posture were beautifully judged, and the power of her voice never denied the plaintive tenderness of her feelings.
The Sunday Age

 
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