Reviews

'It was Lynsey Docherty, a prodigiously talented soprano who captivated a full and appreciative audience with her remarkable voice. She soared effortlessly over the chorus and throughout demonstrated a wonderful vocal range, depth of expression and ability to reach out and connect. Her heart-stopping rendition of Sempre Libera (La Traviata) was simply stunning in its intensity and passion'. Bath Chronicle, Jul '10, Concert with the Silver Ring Choir of Bath

'Lynsey Docherty is a powerful Tatyana, suitably gawky in her romantic view of life and men in the Larina household scenes and flowering into a woman of real presence and maturity in the last act. The letter scene is a major test for any singing-actress, and she passed it.' Whatsonstage.com, Nov '09 Suffolk Opera, Eugene Onegin

'This small but well-formed company complemented its performance with some stunning guest leads... with some heart-stopping arias from Lynsey Docherty who plays Tatyana, the naive romantic who falls for cynical and disengaged Onegin. The letter scene, in which Tatyana writes unrestrainedly of her love for Onegin was excellent... The final aria between Docherty and Onegin, played by Luke D. Williams was a superb climax to the tale as you watched two disparate souls locked in doomed circumstances.' Bury Free Press, Nov '09

'In the title role of Hanna Glawari, the widow of the late finance minister of Pontrevedria who has popped his clogs leaving her 20 million (the currency is immaterial), Lynsey Docherty was magisterial. She had full command of both the score and the character and was well on top of the humour of the piece' Gazette & Herald, Oct '08

'Don Giovanni's presence may dominate this opera, but two young soloists thoroughly deserved their share of the limelight. Jordan Bell was brilliant as the put upon servant Leporello and Lynsey Docherty who was making her debut with the company, demonstrated a prodigious talent as the avenging Donna Anna' Katharine Lawley, Salisbury Journal Sept 08, Candlelight Opera

'The Mastersingers’ team included several promising new singers, among whom Lynsey Docherty especially impressed with her delightful renditions of three diverse rôles (Marzelline, Ännchen and Giulietta)' - Wagner Society of Great Britain - Wagner News, Dec '07

'..with commanding drama from soprano Lynsey Docherty, alto Sian Menna and tenor Christopher Bowen. In fact, this must have been one of the most integrated solo teams the Society had assembled, a fact that made the choir's efforts pass beyond the nominally competent into the region of joyful four-part singing that brought a smile to the face even when it was invoking the dark gods of misrule.' South Wales Argus, Jul 07 - Elijah Mendelssohn

'However, the sensations of the evening were Lynsey Docherty, already experienced in many Mozart roles, singing Donna Anna and Steven Gallop in the Commendatore role. Docherty went from strength to strength, culminating in a performance of her last aria (Non mi dir in the original) that would have received an ovation had the audience not been less sparse' Peter Schofield - Oxford Magazine, May 07

'Lynsey Docherty gave a smoothly elegant performance of the more modern, heart-melting soprano solo [Laudate Dominum]. And she seized the second chance to receive admiration with her assurance in the Pie Jesu from Faure's Requiem.' Eastern Daily Press, Mar 07

'...soprano Lynsey Docherty who performed with confidence and dramatic presence. A consummate performer she sang with sharp musical characterisation aided by an attentive and sensitive orchestra. The selection from One Touch of Venus was delivered with subversive charismatic allure'. Hampshire Chronicle, Jan 07

'The range and expression in her voice really is remarkable for a young performer and her second piece, a concert aria by Mozart was, quite simply, captivating'. Salisbury Journal, Jan 07

' I first heard Lynsey four years ago and was knocked sideways by her voice. Her charismatic performances have established her as one of the most exciting young artists on both the concert and operatic stage.'  Howard Moody, conductor, Jan 07

'... soprano Lynsey Docherty, whose glorious voice seemed to soar effortlessly to whatever height was required of it... a delightful soprano'  Henley Standard, June 06. Beethoven Mass in C

'There was plenty of full-on flamboyance from the ladies… there was some gorgeous singing from Lynsey'  Bucks Herald, April 06. Mozart C Minor Mass/ Linley Song of Moses

'Lynsey Docherty showed that she was a soprano with a wider tonal range than one normally expects - her singing of a Mozart aria was superb while the 'Three Folk Songs' by John McCabe allowed her to show off her humour and adaptability to stunning effect.'  Kentish Times, Jan 05 - Bexley Music Society Recital