"In the first cast, Elsa Roux Chamoux, fervent as the older sister, Edgar, and Harriet Burns, equipped with great coloratura skills as Grace, showed huge promise." The Angel Esmeralda, The Guardian, Fiona Maddocks
"Harriet Burns is an extremely effective Sister Grace, displaying a radiant soprano and suitably concerned persona." The Angel Esmeralda, Music OMH, Sam Smith
"Burns’ bright soprano promises much for the future." The Angel Esmeralda, The Tablet, Alexandra Coghlan
"As Sister Grace Harriet Burns had to contend with some fiercely high-lying vocal lines which perhaps made it harder for her to get the text across so well, but the feistiness of the character registered well as a result and her singing was tireless and exciting." The Angel Esmeralda, Classical Source, Alexander Campbell
"Burns was confident, polished, witty, expressive and sweet toned" Wigmore Hall Independent Opera International Song Competition, The Times, Anna Pickard
"In this magic circus we followed the apparently hopeless pursuit of chilly Fillide by sadsack Aminta, played as a fashion-free (female) dork besotted with the desired object and possessing one excellent virtue, namely relentless persistence. While icy Fillide rebuffed her and polished her nails, Aminta’s emotional desperation took the stage, and in Harriet Burns’s completely fabulous, fearless performance we wholly entered her world."
Handel Aminta e Fillide, Guildhall Opera School Double Bill, Robert Thicknesse, Critics Circle
"Harriet Burns and Carmen Artaza offered some dazzling singing, especially later on, coloratura and range of colour alike showing what should really lie at the heart of this pastoral."
Handel Aminta e Fillide, Guildhall Opera School Double Bill, Mark Berry, Seen and Heard International
"Then Harriet Burns, Oxford lieder’s Young Artist Platform winner, happened to be in Oxford. and happened to know Weir’s Nuits d’Afrique – probably the only person in the country, as Kynoch pointed out, who had this 2015 song cycle under her belt and ready to go. She sang it terrifically, with heart and humour."
Nuits d'Afrique, Oxford Lieder Festival, Holywell Music Room, Fiona Maddocks, The Guardian
"Harriet Burns shone in The Alps, Judith Weir's cool and succinct setting of words by Emily Dickinson"
This is Rattle: Adès, Milton Court Concert Hall, Erica Jeal, The Guardian
"Setting Emily Dickinson, Judith Weir’s The Alps features the astonishingly pure soprano of Harriet Burns...Golijov’s Sarajevo, a setting of a Sephardic folksong, found soprano Harriet Burns clear and powerful against a busy surface provided by clarinet, viola, cello and double bass."
This is Rattle: Adès, Milton Court Concert Hall, Colin Clarke, Classical Source
"Soprano Harriet Burns struck just the right tone of tremulous excitement in Offrandes, a setting of erotically surrealist poetry, the ensemble and conductor Geoffrey Paterson touching in a nocturnal soundscape behind her."
BBC Total Immersion day: Edgard Varese, Milton Court Concert Hall, Ivan Hewett, The Telegraph
"With soaring control of line and fine articulation, the soprano Harriet Burns made the case here (Un Grand Sommeil Noir) and in the symbolist Offrandes for the unlikely notion of Varese as a lost song-writer in the French tradition"
BBC Total Immersion day: Edgard Varese, Milton Court Concert Hall, Peter Quantrill, The Arts Desk
"(Un Grand Sommeil Noir) was touchingly conveyed by Harriet Burns with Sebastian Espinosa Carrasco... Offrandes finds Varese setting texts by two Spanish surrealist poets in music whose alluring yet menacing aura was tellingly complimented by Burns's vocal agility"
BBC Total Immersion day: Edgard Varese, Milton Court Concert Hall, Richard Whitehouse, Classical Source
Photo Credit: Sim Canetty-Clarke