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 |
