"Harriet Burns's voice is brilliant and rich, comfortable even in stratospheric heights. She completely inhabits each character or scenario she depicts, her emotional range spanning deepest tragedy to naïve girlishness." BBC Music Magazine

"The amplitude of Burns’s voice, with its bright warmth of tone and wonderful gleam at the top, confers a certain grandeur of scale on the proceedings, though her dynamic range is tellingly wide and often deployed with considerable subtlety. The way she moves from the assertively sweeping phrases of ‘Freudvoll und leidvoll’ to the rueful intimacy of ‘Lachen und Weinen’ at the start is particularly beautiful. Singing off the line as much as the words, she sounds exquisite in ‘Dass sie hier gewesen’, the unresolved chromaticism of which pre-empts Liszt, and later invests the Schiller setting ‘Amalia’, a mixture of recitative and arioso, with the declamatory dramatic weight of an operatic scena, which you suspect is what Schubert might have intended. ‘Viola’, meanwhile, at 12 minutes more cantata than song, is finely shaped and you’re repeatedly struck by the intensity both she and Schubert bring to so fragile a narrative."

Gramophone

"a peerless Schubert Lieder recital from Harriet Burns and Ian Tindale." Presto Music, Editor's Choice

"There’s little doubt, however, of the strength of this partnership or the excellence of much of their music-making. A very fine disc indeed." (Ian Tindale, duo-partner) Gramophone

"Harriet Burns and Ian Tindale - definitely two names to watch out for" Classical Music Daily

"Burns's huge soprano voice is terrifically exciting when it's at full throttle, but warmly tender when shaded down" The Times

"Burns’ voice, which is a full, lyric soprano. Its creamy richness would no doubt be perfect for Strauss’s soaring soprano lines." MusicWeb International

"With her lively presence, Harriet Burns mesmerized the audience – and certainly the jury – with her incomparably rich voice. Her joy in singing on stage was infectious." MyScena

"But it was the discreetly commanding British soprano Harriet Burns who made best use of art song’s variety: she was ripe and at ease in Chausson’s “Dans la forêt du charme et de l’enchantement”, cocky in Hans Pfitzner’s “Ich fürcht’ nit Gespenster”—I ain’t afraid of no ghosts!—and elegant as an assassin’s stiletto knife slicing through a velvet curtain in Schubert’s “Ellens Gesänge”.Opera Canada 

"Burns was confident, polished, witty, expressive and sweet toned" The Times

Photo credit: Benjamin Ealovega