“As in Breaking the Waves, Susan Bullock found herself here with a part offering scene-stealing potential. This ageless soprano, who has earned for herself honorary membership of Scottish Opera over the past decade, injected theatrical chutzpah simply by virtue of her histrionic skills.”

“Disaster looms, especially in the horrific treatment of an old woman (an outstanding Susan Bullock), whom Lucky tricks into being dismembered for her body parts.”

“Susan Bullock is a wonderfully curmudgeonly old bat on two sticks who is, initially, not going to be taken in by the Cure, but gives in and flies high above the stage on her horse. Being elderly, her savings are running out, and she is persuaded to part with, first, her hair, then her eyes and finally her knee-caps, to retain access to the Cure. Her ecstasy on the horse, her absence of pain, indeed joviality, during the surgery, is infectious.”

“the long and poignant lament of Marylin Klinghoffer, the final monologue of the opera, was truly masterfully calibrated by Susan Bullock.”

“Laurent Naouri and Susan Bullock are formidable: Naouri sings the Aria del Corpo che cade with ecstatic abandon, almost bordering on disenchantment, a tragic and sacred reflection of death on life, while Bullock’s final monologue is the emotional climax.”

“The other page of great intensity is the wife’s final monologue: an intense Susan Bullock gives life to Marilyn.”

“Bullock knows this music in depth, and her reading of Goodman’s text is of rare intelligence.”

“Susan Bullock had the full measure of this complicated interpretation of Judith’s role, every emotion visible on her face as well as in her voice, from confusion to happiness to grief. Her diction was wonderfully clear in Evans’ own English translation of the text, that one scarcely needed the supertitles when she was singing. Vocally, she was in very fine form with a rich lower register where much of Judith’s music lies, but also with an exhilarating high C at the opening of the fifth door that was cleanly approached and perfectly on pitch. Most harrowing of all was the moment of clarity that came upon her as she relived her son’s passing.”

“Susan Bullock, imperious in widow’s weeds, sang this role [Cosima Wagner] with an icy splendour that chilled the blood…”

“Not a word goes astray in this beautifully crafted and endearing anthology.”

“Susan Bullock’s Klytämnestra radiated composure and vocal superiority. Her interpretation was not overdrawn, instead she moulded her role with adept restraint, clear declamation and intelligent phrasing.”

“Susan Bullock gave a blistering performance as Kátya’s evil mother-in-law Kabanicha, her voice as powerful as her imperious stage presence”

“Bullock, great singer-actor that she is, brings us face to face with the horror in the woman’s soul in a performance of unsparing veracity.”

“Susan Bullock gives a compelling portrayal as the Kostelnička”

“Bullock, 2004’s Elektra, is also a compelling Klytemnestra in her stage presence, as plausible as a husband-slayer as she is as a resolute mother struggling to tame her troubled daughter.”

“Finley and Bullock are utterly remarkable here, singing and acting with astonishing emotional nakedness and detailed veracity. Neither has done anything finer. This really is a devastating piece of theatre”

“The star of the show was Susan Bullock’s Old Lady, modelled on Joan Rivers (sensational wig, glamorous wardrobe) but a stage character very much of Bullock’s own creation— the embodiment of satirical humour, with a to-die-for Bronx accent. Bullock vamped it up brilliantly but never excessively: she captured the character’s vulnerability.”

“The only three-dimensional figure was Susan Bullock as the Mother [in Breaking the Waves], thanks to her stage presence and powerful rendition of the solo meditation ​‘Sons who die at seas’, Bullock showed that this superficially unyielding matriarch had depth and complexity.”

“As Mother and Witch, Susan Bullock portrayed with Wagnerian command a woman diminished by poverty and then expanded by cannibalistic lust for gingerbread. She was magnificent in the Witch’s manic cooking preparations”

“Vocally, her Klytaemnestra is different from the others I’ve heard…She impresses not with power and volume but with nuance and dramatic vulnerability.”

“a pole-axing performance (her first) of the Kostelnička by Susan Bullock…[Bullock’s] steely determination works well for the Kostelnička, and she still has the emotional warmth and innate musicianship to make her a sympathetic character.”

“Susan Bullock has formidable focus and power as the Kostelnicka: her final scene is harrowing.”

“Up at Valhalla, we encounter Susan Bullock’s diminutive, punk-haired Brunnhilde, who exhibits exactly the right passionate energy.”

“The double casting of the excellent Susan Bullock as both the children’s mother and the witch emphasises the theme of danger being close to home.“

“With everything onstage amplified to a high-decibel level, the British soprano Susan Bullock wisely deployed her voice, most often heard in heavyweight Wagner and Strauss roles, with buoyant lightness. Thus, no harsh belting or orotund high notes encumbered her wonderfully sprightly Mrs Lovett.”

“As Mrs. Lovett, Bullock triumphs with the show’s trickiest role, which beyond its vocal and dramatic demands, also requires a streak of raucous music-hall comedy and mischief. Bullock imbues her textured characterization with some of the exuberant qualities, the earthiness and sass amid the genuine emotional need. Bullock sings with force and flexibility, dispatching devilishly complex lyrics in ​“The Worst Pies in London” and the delightful ​“By the Sea,” envisioning domestic bliss with Sweeney.”

“She acts up a storm…with the voice solidly produced, a real trill, her enunciation perfect. When she sings ​‘Siegfried, see my anguish’, right before her final monologue, Siegfried listens, transformed…she inhabits the role and the high notes ring out as well.”