In classic Wharton style, the two widows, sung by the soprano Alison Buchanan and the mezzo-soprano Bernadine Pritchett, are women of leisure. All is revealed in the opera’s last, climactic bars. As Alida, acid-tongued and glamorous, Pritchett was alluring, wry, diction clear. https://www.theguardian.com/music/2024/apr/20/pegasus-opera-roman-fever-the-human-voice-nadine-benjamin-susie-sainsbury-theatre-review-catalyst-national-youth-orchestra-national-youth-brass-band-of-great-britain-gavin-higgins-southbank-royal-festival-hall-celebrating-sir-neville-marriner-100-birthday-academy-of-st-martin-in-the-fields-joshua-bell-errollyn-wallen-premiere?fbclid=IwZXh0bgNhZW0CMTEAAR0UAFwkzoioSK1FOTbwiC7OYGjtpS7MhUbYJSF-VOVbJlu6Cy1aCJ9dXwk_aem_AR6XCz_vtsZgTaGUFhH9nswFLcSUa8ElhVOOYu3k9GAeLHl3t8ZaDFLS43ICfcFBv3_5asy4ZoDtsQggspMRgunn (2024)

The music is made superb with camp exaggeration by our widows, performed by Bernadine Pritchett and Alison Buchanan (Pegasus Opera’s Artistic Director). He has written many witty and sharp musical phrases for the women, and these are pounced upon with a bitchy coolness by the singers. https://everything-theatre.co.uk/2024/05/review-roman-fever-and-the-human-voice-royal-academy-of-music/ (2024)

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