"Rhiannon Llewellyn is glorious as larger-than-life Mrs Pack and others" Edinburgh Festival Review (2022)

"Fittingly, this was performed by Rhiannon Llewellyn, who sang the role of the Countess last summer and whose performance I very much enjoyed. This is a sweeter, gentler role than Stucker’s feisty Susanna and Llewellyn’s voice matched the part, offering up a credible picture of a loving woman trying to forgive her errant husband... Llewellyn returned for the cavatina Dolce mi parve un di from Vicente Martin y Soler’s opera Una cosa rara. In contrast to the very long Haydn, this was very short, but pretty nevertheless: a dreamy and delicate meditation on how love used to seem so sweet. It sounds as though it should be a sorrowful piece, but in fact Llewellyn sang with a confiding lightness that suggested she hadn’t quite given up all hope of love’s return." THE IDLE WOMAN (2018)

"Llewellyn, is a fine singer" Lark Reviews (2018)

"Soprano Rhiannon Llewellyn radiantly sang the Countess’s final aria from La scuola de’ gelosi (a role in which she had big success at Bampton last year) and a brief cavatina from a Martín y Soler opera that Nancy had appeared in. " SEEN AND HEARD INTERNATIONAL (2018)

"The jewel of the piece is a magnificently proud, sincere yet sassy Countess from Rhiannon Llewellyn, her soprano perfectly fitted for this luscious music, from elegant delicacy to poised, regal strength. Llewellyn’s exceptionally fine acting gives us a Countess who loves her husband deeply enough to want to rekindle their marriage, but who is also deeply hurt by his betrayal. " OPERISSIMA (2018)

"As Fisher’s Countess, a poised Rhiannon Llewellyn radiated tense anxiety here, sassy authority there... the notes her voice can leap up to reach are simply stunning. Llewellyn and Fisher made a supremely matched pair in duets, their voices truly complimenting one another in tone and colour." BACHTRACK (2017)

"Rhiannon Llewellyn was a poignant Countess with her final accompanied recitative and aria one of the opera's strongest moments." PLANET HUGILL (2017)

"Rhiannon Llewellyn was also an excellent Countess, with her performance of ‘Ah, non è ver che in seno amor’ (a very obvious inspiration for ‘Porgi amor’) revealing her beautifully developed soprano and considerable vocal prowess." MUSICOMH (2017)

"With a notorious eight-minute accompanied recitative and aria in Act II, she both has to manage the technical demands of the music, and keep the audience engaged in the plight of the character. Rhiannon Llewellyn took on the challenges of the role with flair and gave a beautifully nuanced performance, concluding her epic aria with fluttering runs of notes that showed off the flexibility of her lovely voice." (2017)

"...Anne was sung, with radiant intensity, by Rhiannon Llewellyn..." MICHAEL TANNER, THE SPECTATOR (2015)

"Rhiannon Llewellyn as Anne Trulove brought a lovely tenderness to the role that peaked in the Act III lullaby. She possesses a warm tone quality and the voice really shone when she let it go... she is certainly an artist to follow." BACHTRACK (2015)

"Rhiannon Llewellyn had all you could want – clear, accurate high notes especially – as a tender but spirited Anne Trulove." FIONA MADDOCKS, THE OBSERVER (2015)

"Rhiannon Llewellyn’s Anne combined grace and beauty to a properly euphonious degree; her first act aria was very fine indeed." SEEN AND HEARD INTERNATIONAL (2015)

"Again, the ensemble performance was terrific, but particularly memorable were the silky diction of Rhiannon Llewellyn as Nella, and the imposing sounds made by Tristan Hambleton as Simone and the two Bettos, Božidar Smiljanić and Alistair Ollerenshaw." OPERA MAGAZINE (2014)

'"As Armida, demon sorceress and secret weapon of Rinaldo's opponent, the tiger-taming King Argante (soprano Rhiannon Llewellyn) is vocally nuanced while appearing brazenly sexy." RIAN EVANS, THE GUARDIAN (2014)

"Musically and dramatically this production was tremendously satisfying, and such was the standard it was difficult to tell the newcomers and more experienced singers apart... haughty Rhiannon Llewellyn frightened the life out of me as the domineering and threatening Armida." SEEN AND HEARD INTERNATIONAL (2014)

"Rhiannon Llewellyn as Dalinda (Ginevra’s lady-in waiting) was the most consistently satisfying role in terms of musical projection and interpretation, by no means becoming a mere foil for her mistress." CLASSICAL SOURCE (2014)

"Rhiannon Llewellyn gives a subtle, delightfully sung performance as the easily swayed Dalinda." RICHARD MORRISON, THE TIMES (2014)

"Rhiannon Llewellyn was excellently cast as the sorceress Armida, with bold dramatic choices in her acting which portrayed the fiery, passionate and capricious nature of her character, as well as performing some terrific singing. She had an easy agility for the runs and a wonderful control to her voice, able to diminuendo to pianissimo with expression, which was well demonstrated in the second half of Act II." EARLY MUSIC REVIEW (2014)

"Rhiannon Llewellyn's Dalinda was at once sensual and maternal, and wonderfully animated throughout. Polished and mature, she acted with sophisticated emotion and engaged the audience from the start with her beguiling soprano." BACHTRACK (2014)

"The cast was stunning. There was real maturity in these young voiceS, with strength and control and astonishing technique all round... Rhiannon Llewellyn sang Dalinda with art." ROBERT THICKNESSE, OPERA NOW (2014)

"...Fuchs depiction of the Sandman at the end of act two (finely sung by Rhiannon Llewellyn) had been genuinely creepy and avoided the cutesy... Both Rhiannon Llewellyn, as the Sandman, and Ruth Jenkins as the Dew Fairy, contributed beautifully poised accounts of their arias." OPERA TODAY (2013)

"...Rhiannon Llewellyn is even younger, being still on the post-graduate programme at the Royal Academy, but she sings the important cameo role of the Sandman with great confidence and clarity." DAVID MELLOR, THE MAIL ON SUNDAY (2013)

"Both delivering their cameo appearances with perfect neatness, Rhiannon Llewellyn's Sandman – with an eerie suggestion of Nosferatu in her makeup and costuming – and Ruth Jenkin's Dew Fairy, more saccharine in her appearance – complete a strong cast." THE GUARDIAN (2013)

"The Sandman (Rhiannon Llewellyn) and Dew Fairy (Ruth Jenkins) were both beautifully sung and suitably magical." CLASSICAL SOURCE (2013)

"Two operatic newcomers impress in smaller roles: Rhiannon Llewellyn, currently at the Royal Academy of Music, is a Nosferatu-like Sandman, and Ruth Jenkins a perk Dew Fairy in tartan tutu." SUNDAY EXPRESS (2013)

Winner of the 2013 Maggie Teyte Competition at the Royal Opera House, 2013 Garsington Opera Leonard Ingrams Award for Most Promising Young Artist, 2014 MOCSA Young Welsh Singer Competition, 2014 Dunraven Young Welsh Singer Award, 2014 Simon Fletcher Charitable Trust Award, 2014 John Kerr Competition and the 2014 RAM Blodwen Cosslett Leyshon Prize, Rhiannon Llewellyn is in her second year with Royal Academy Opera under the tutelage of Lillian Watson.

Recent and future operatic engagements include Armida (Rinaldo) for Longborough Festival Opera; Sandman (Hänsel und Gretel), Lace Seller (Death in Venice) and Anna (cover, Strauss’s Intermezzo) for Garsington Opera; Nella (Gianni Schicchi) and Dalinda (Ariodante) for Royal Academy Opera; Aristea (Heart in a Box) for Garsington Opera Education; Countess (Le nozze di Figaro) and First Lady (Die Zauberflöte) for Opera’r Ddraig; and Cesare (Catone in Utica) for Dartington.

Concert and recital appearances include the Royal Opera House’s Crush Room, Royal Albert Hall, Real Academia de Bellas Artes (Madrid), Wigmore Hall, Colston Hall, Purcell Room, St. John’s, Smith Square, King’s Place, Gower Music Festival, Cardiff Music Festival, St Martin-in-the-Fields, St. David’s Hall, the National Portrait Gallery and Aldeburgh Festival. Rhiannon is a Concordia Foundation Artist, a member of Academy Song Circle and former Les Azuriales Young Artist.

Rhiannon gratefully acknowledges the support of the Eric and Jacqueline Warne Scholarship, Sickle Foundation, Ryan Davies Trust, John Wren, Josephine Baker Trust, Countess of Munster Trust and Elizabeth Evans Trust.

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