“Fagan, one of today’s finest young sopranos, is exceptional throughout and a superb actor. Her tone blazes with existential defiance and desperation, and she possesses both the agility for act one – Sempre Libera is capped by a dazzling top E flat – and the dramatic weight for the closing scenes.”

“the easy grace of Fagan’s coloratura, the warmth and richness of her sound, and her delicately floated high notes, all make this Violetta a delight.”

“Lauren Fagan was on commanding form as both actor and singer, and she looked sensational and vulnerable in her fin-de-siècle gowns. Her coloratura in ​‘Sempre libera’ was light and secure, her Act 2 scene with Germont père, showing off a fine control of tone and hushed dynamics, was done with considerable restraint, and her death scene faltered and faded very movingly.”

“Lauren Fagan encompassed repressed stillness and seething passion as Agnès, retaining her precision of attack and creamy tone at even the most exposed high climax”

“Most thrilling of all, Lauren Fagan’s gleaming, intense performance showed what a extraordinary dramatic creation the character of Agnès is, one of the great operatic heroines of the past 100 years.”

“Elvira demands more expressive power than the tragic Anna, but Fagan demonstrated perfect skill and there was a seriousness in her approach to the role.”

“Lauren Fagan sang her first Donna Anna as if it were a walk in Holland Park, flinging out her repeated As in ​‘Or sai chi l’onore’”

“Australian soprano Lauren Fagan sang a commanding Donna Anna with dramatic recitatives, laser-like projection and clean fioritura. ​“Non mi dir” was the highlight of the evening”.

“Of the other ​‘bohemians’, Lauren Fagan’s Musetta had an engaging brassiness of voice and manner in the Café Momus scene (which was well realized theatrically) and a very different, but equally engaging, capacity for deeper emotional involvement in Acts III and (especially) IV. More than some more famous singers in this role, she made one believe in the character’s generosity of spirit in the last Act.”

“Lauren Fagan was a feisty Musetta, generous of voice.”

“Lauren Fagan shone as Gounod’s Mireille… Her stunningly rich tone and vibrant timbre rose above the incongruous design and later, as Mimì, she showed that she has range of colour too.”

“Lauren Fagan, who stepped in at the last moment for an indisposed Sophie Bevan, leaves a strong impression with a sincere, powerful sound.”

“…the characterisation of the supporting roles is carefully detailed, such as Lauren Fagan’s tender delivery of Sister Genovieffa’s wistful monologue on the joy of holding a lamb …”

“Musically the whole thing works a treat, thanks to glorious singing by Fagan.”

“The Three Graces blended alluringly, Lauren Fagan’s Thalia floating thrillingly above Emily Edmonds sensuous mezzo”

“…Lauren Fagan as his love-interest, Leila, [was] simply superb. She slinked around with perfumed exoticism as the beautiful young princess and he could barely contain his passion for her… These two fine singers proved they were worthy of headlining any Pearl Fishers cast and deserved the prolonged ovation they received.”

“This was exceptional, both singers giving their all and electrifying each other and, in the process, the auditorium”

“Stepping into Papagena’s tarty shoes was the Jette Parker Young Artist Lauren Fagan, who sang with spark and threw herself into the portrayal.”