Lady Macbeth was excellent. I understand she calls herself a mezzo, so I did wonder if she was up to singing the role. She was. A strong and radiant voice with which she sang this difficult role with aplomb and vitality. The range didn't appear to cause any problems for a mezzo and her high D flat at the end of the sleepwalking scene was beautifully executed. Georgina Turner (2017)

Perhaps the best actress was Anna Loveday, who believably played Laura as the physically and emotionally abused trophy wife of an intimidating bully. Vocally Loveday was at her best when she and Gioconda have their brainstorming diva duel for the love of Enzo in Act II. Jim Pritchard (Seenandheard-international.com) (2017)

The undisputed start of Southgate's Macbeth was Lady Macbeth. You don't mess with Lady M and this production understood that fully. Anna Loveday has the perfect voice and stage presence for the part; sure, strong, weighty and expressive. Her melodic lines in the ensembles - where she soars over everyone else - are just spine tingling. Basso di Cornetto (2017)

You can’t have an easy going Carmen. The opera is about her – the clue is in the title – and she needs to be passionate. The whole thing hangs on her having enough va va voom for men to die for her. If she doesn’t, it won’t work ... the night I went Carmen was Anna Loveday. And she practically set the stage on fire. Some of those moves were – they were - mmmm, yes! I thought - she must be a true Latina! Turns out she isn’t – so a very fine performance indeed! She also had genuine stage presence – you couldn’t take your eyes off her. It all worked … Stephen Dinsdale (2016)