Rosie 2 B&W 1

“Rosie Aldridge... showed herself to be one of the most gifted Handelians... her demeanour on stage meant that she created a believable masculine persona which is no mean feat.”

Robert Hugill (

Alessandro (London Handel Festival)


“Rosie Aldridge... has a mezzo voice full of colour and mischief, and a presence which ensures we don’t take our eyes off her whenever she’s on stage.”



“As the grieving queen, wife and mother, Eleanor Dennis... made the eardrums shake. Mezzo Rosie Aldridge, as her feisty in-law Eduige, with sharper articulation and nimbler phrasing, was better still. Two talents to watch.”



“…hers is one of the most attractive young mezzo voices currently making its way through the ranks.”

Rodelinda (London Handel Festival)

Michael Church (The Independent)

Geoff Brown (The Times)

Alexandra Coghlan (The Arts Desk)

Albert Herring (ETO)

“Rosie Aldridge’s Florence Pike was superb, with some of the best diction of the evening, a Lady Billows in waiting, I suggest.”  

Mark Pullinger

(Opera Britannia)

“Rosie Aldridge was a thoughtful, composed Florence… (with) flexible recitative… while allowing her voice to bloom in more lyrical passages.”

Claire Seymour

(Opera Today)

“Rosie Aldridge (was) a booming Florence, a deliciously ambiguous figure in her mannish attire.”  

Hugh Canning

(The Sunday Times)

Five Tudor Portraits (BBC Symphony Orchestra, Barbican)

“Rosie Aldridge combined superb instinct for comic timing with an equally well-measured musicality as drunken ratbag Alice… The queen of the five character-studies, though, is convent girl Jane Scroop lamenting the death of her sparrow Philip (with) a now very sober Aldridge in heartbroken glory.”

David Nice

(The Arts Desk)


“Rosie Aldridge...  was magnificent, from her initial drunken entry in ‘The Tunning of Elinor Rumming’, to the myriad emotions of the long Jane Scroop movement, this was a singer relishing every one of the opportunities RVW has given her, communicating her characterisations and various moods with no little artistry – and dead in tune.”  

Robert Matthew-Walker



“This affectionate portrayal of (The Tunning of Elinor Rumming) an overripe, permanently pickled matron was superbly brought to life by mezzo-soprano Rosie Aldridge in her genuinely comic interlude, capturing the mock-serious, tipsy mood perfectly… Next, we meet "Jane Scroop, Her Lament for Philip Sparrow" (where) again, Rosie Aldridge found just the right tone and showed us a beautiful rich tone in her voice as well.”

Chris Garlick


Lady Macbeth of Mtsensk  (ENO)

“Vivid cameos especially from… Rosie Aldridge as Aksinya.”

Erica Jeal

(Opera Magazine)


Ariadne auf Naxos  (West Green Opera)

"The other star of the evening was Rosie Aldridge (The Composer) whose beauty of sound – with an easy, melting, liquid richness right through its range – was matched by a charmingly impetuous and engaging stage manner. She delivered joined-up singing of the highest order.”

Warwick Thompson



“Rosie Aldridge staked triumphant claim on a new Fach as a passionate Composer, producing streams of trenchant, smoky-tinged tone and articulating her words with old-school precision.”  

Yehuda Shapiro

(Opera Magazine)


Ottone (ETO)

“The trio of women – sopranos Louise Kemeny and Gillian Webster, and mezzo Rosie Aldridge - are each in their own way stunning”

Michael Church

(The Independent)

“There are terrific performances from Gillian Webster, all hauteur, tantrums and maternal anguish as Gismonda, and Rosie Aldridge as vindictive Matilda”

Tim Ashley

(The Guardian)

“Mathilde was also a strong, almost Valkyrie-like character but again conflicted by her love for Adalberto. Rosie Aldridge was on terrific form and gave us a strongly sung and finely dramatic performance. In a musically strong evening, for me Aldridge gave us some of the finest Handel singing of the evening.”

Robert Hugill

(Planet Hugill)

Rosie Aldridge | Mezzo-Soprano

The Nose (ROH)

“Rosie Aldridge was magnificent in her 3 contrasting roles, approaching every note with gusto.”

“Rosie Aldridge excels in multiple supporting roles.”

"Rosie Aldridge does a very funny job of microphone-wielding compère trying to bring the show to a close with Gogol's own words before Kosky offers a final twist (or should I say falling off?!)."

Limelight Magazine


Daily Telegraph


Opera Today


“As [Sir John Tomlinson's] scolding wife, Ossipovna, Rosie Aldridge pounced with fiery anger to demand that her husband remove the offending olfactory adjunct from her house; she negotiated the unalleviated high register - perfect for her foul language and nagging - with aplomb, her voice penetrating but never ear-splitting.”

“Mezzo-soprano Rosie Aldridge... was hilarious, and musically impressive.”