“Rhian Davies brought remarkable theatricality to Mrs Sedley. The role lies low and distinguished mezzo-sopranos can struggle to convey the full nastiness of the lady, but here Davies used her full range of musical and dramatic skills to make this Mrs Sedley count.” – Peter Hugill, Planet Hugill (https://www.planethugill.com/2025/07/a-moving-immediacy-and-directness.html) (2025)

“Rhian Davies’s rich alto was characterful as the busybody and amateur sleuth, Mrs. Sedley.” – Clive Paget, Musical America (2025)

“The tension crackles from the start, sparking between Rhian Davies’ deliciously prudish Mrs Sedley, equally appalled and compelled by Oliver Heuzenroeder’s Keene – dispatching his consonants like lewd suggestions, his glinting baritone cutting through the texture with ease. Davies relishes her “Murder most foul”, a nicely grotesque counterweight to the glassy fragility of the female quartet.” – Alexandra Coghlan, The Critics Circle (https://criticscircle.org.uk/a-rich-haul-british-youth-operas-peter-grimes/) (2025)

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