Blodeuwedd in Her Face was of Flowers, Elfyn Jones
Peter Reed, Classical Source: "Anna Prowse dominated the empty stage with her luxurious mezzo."
Vicky in Vicky & Albert, Elfyn Jones
Flora Willson, The Guardian: "Anna Prowse was genuinely compelling, her velvet tone transforming lyrical passages into brief flights of emotional intensity."
Charlotte Valori, Operissima: "Anna Prowse plays Vicky with witty panache, blending a warm, charismatic personality fuelled by obvious intellectual firepower with a gnawing inner despair"
Mark Berry, Boulezian Blogspot: "Fashion and fashions take many forms, yet they will always have room for such excellence in operatic personality and presentation as shown here by Anna Prowse as the human, all too human Vicky."
Bianca in Rape of Lucretia, Benjamin Britten
Jon Jacob, Thoroughly Good Blog: Anna Prowse maintained a matronly presence with a chillingly detached air about her
Nerone in L'incoronazione di Poppea, Monteverdi
Fiona Maddocks, The Guardian ★★★★: "Talent was evident in all quarters, from continuo to principal soloists to design and lighting. Now at critical stages in the development of their voices, all these singers deserve mention, including those playing main characters: Anna Prowse (Nerone)"
Christopher Webber, Opera Magazine: "Anna Prowse's bully-boy Nerone and Charlotte Osborn's inscrutably sensual Poppea worked strongly together"