• 2013
    • Penelope, Il Ritorno d'Ulisse in Patria, Luzerner Theater

      Die expressive Stimme von Carolyn Dobbins Penelope verrät von Beginnweg, dass im Chanel-Kostüm eine berührungs-und liebeshungrige Seelesteckt, der der reserviert wirkendeOdysseus (Utu Kuzuluk) kaum Erfüllungbringen wird. Aargauer Zeitung

  • 2012
    • Annio, La Clemenza di Tito, Luzerner Theater

      Auch die zweite Hosenrolle, diejenige des Annio, ist mit Carolyn Dobbin herausragend besetzt: Eine warme, unendlich schön timbrierte Stimme mit festem, unerschütterlichem Fundament. oper-aktuell.info

    • Scipio, Caligula, ENO

      He sings with total theatrical commitment. So do Yvonne Howard as empress-consort Caesonia, Carolyn Dobbin as the poet Scipio, and countertenor Christopher Ainslie as the henchman- slave Helicon

    • Scipio, Caligula, ENO

      Carolyn Dobbin, whose silken mezzo was a delight as the Sesto-like Scipio Limelight Magazine

    • Scipio, Caligula, ENO

      The other prominent role is that of the poet Scipio, a trouser role played well by Carolyn Dobbin Opera Brittania

    • Scipio, Caligula, ENO

      He puts Glanert’s demanding score across with unhesitating conviction, as indeed do Christopher Ainslie as his trusted aide, Helicon, and the ear-catching Carolyn Dobbin as his brave young antagonist, Scipio What's On Stage

    • Scipio, Caligula, ENO

      Hope blossomed every time Carolyn Dobbin came to the front of the stage, not only for the consistently fine quality of her singing as Scipio but also as she seemed to have the most developed character both on the page and in the playing of it. Framescourer

    • Meg Page, Falstaff, Opera Holland Park

      Carolyn Dobbin was similarly focused and strong as Meg Opera Today

    • Meg Page, Falstaff, Opera Holland Park

      ...Linda Richardson as Alice, Carole Wilson as Quickly and Carolyn Dobbin as Meg are as near a perfect ensemble as you’ll find in this opera Keith McDonnell, What's on Stage

    • Meg Page, Falstaff, Opera Holland Park

      ...reimagined as a comedy it might look like this. For it is Linda Richardson's prim Alice Ford, Carolyn Dobbin's saucy Meg Page, Carole Wilson's seen-it-all Mistress Quickly and Rhona McKail's dowdy, frustrated Nanetta who lead the resistance against Falstaff, sharpening their knitting needles with vim in "Pizzica, stuzzica!". Behind the slapstick and the laundry-basket bedroom farce, the stakes are high.

    • Meg Page, Falstaff, Opera Holland Park

      Carolyn Dobbin sang strongly as Meg Page, her rich mezzo strongly projected and making more of an impression than many Megs

  • 2011
    • Maddalena, Rigoletto, Grange Park Opera

      “Perfect casting, too, was Carolyn Dobbin’s overtly sexual Maddalena, her warm mezzo dangerously inviting…”

    • Maddalena, Rigoletto, Grange Park Opera

      In the smaller, and under-characterised role of Maddalena, Carolyn Dobbin made an excellent impression.   She has the physique du role, looked seductive and projected her mezzo line with power and distinction.   And the production really came alive from the quartet and storm scene onwards: principals and orchestra managed to get some of the visceral excitement across that abounds in Verdi’s extraordinary score.   From then on, to the final tragic denouement, we were gripped by the power and force of Verdi’s inspiration, which came at a turning point in the history of Italian opera.

    • Maddalena, Rigoletto, Grange Park Opera

      Both Timothy Dawkins’s Sparafucile and Carolyn Dobbin’s Maddalena are compellingly sung...

    • Maddalena, Rigoletto, Grange Park Opera

      Strong vocal support (and some solid acting) from Carolyn Dobbin’s Maddalena

    • Maddalena, Rigoletto, Grange Park Opera

      As his seductive sister Maddalena, Carolyn Dobbin offers porn-star looks in Davies’ costume and a mezzo full of sexual promise.

  • 2010
    • The Three Ladies Camilla Roberts, Carolyn Dobbin and Joanne Thomas are splendid with Kevin Pollard's prim maids outfits, ghost white faces but with scarlet petticoats.

    • ‘The Magic Flute’ WNO 2010

      The big-voiced Three Ladies mercifully have a Tamino to lust after, and they certainly do! By graduating from strictly-corsetted black attire to revealing ample bosoms and scarlet petticoats, they relish their task of protecting the handsome prince. Camilla Roberts as the First lady has a fine Mozartian edge to her phrasing with a soaring line and sensitive ensemble awareness when necessary. Carolyn DobbinÕs Second Lady gives the ensemble a honeyed strength

    • ‘Recital ’, Bath Festival 2010

      lunchtime recital at the Guildhall by two young Welsh National Opera artists — the mezzo-soprano Carolyn Dobbin and the bass-baritone David Soar — with the pianist James Southall. This was an innocuous-seeming sequence of favourite moments from 19th century French opera — very Classic FM — but the unaffected presentation (no chatty introductions, not even a prepared encore) and the simple visceral thrill of hearing such large, richly grained voices in a relatively small space soon had me under a spell….Dobbin was superb in Mon coeur s’ouvre à ta voix, from Samson et Dalila. Southall’s Debussy solos were captivating, too. It was an hour of elemental mastery

    • ‘Carmen, Bizet ’ WNO 2010

      Frasquita and Mercédès were well portrayed by Joanne Boag and Carolyn Dobbin, who is also covering the title role.

  • 2009
    • ‘Alcina, Handel ’ ETO 2009

      ...The virtues of Carolyn Dobbin's Bradamante and Celeste Lazarenko's Morgana are better matched..

    • ‘Alcina, Handel ’ ETO 2009

      Carolyn Dobbin's Bradamente, on the other hand, was very much the opposite: a truly rich and vibrant character. I had been impressed with Dobbin's account of Teodata in Flavio last week, and Dobbin continued to impress here as well. The part requires vocal flexibility in what is quite a low lying part, and Dobbin sang as though the part fitted her voice admirably

    • Flavio, Handel ETO 2009

      Highlights?  ...  Carolyn Dobbin, a warm-toned mezzo with a mischievous comic touch.

    • Flavio, Handel ETO 2009

      Teodata is a soubrette mezzo sort of a role and is played with relish by Carolyn Dobbin, who has a powerful voice but a light, comic touch where required. Her scenes were an absolute delight, playfully toying with Flavio’s orb and sceptre in her Act 3 aria to successfully incite the wildly jealous Vitige

    • Flavio, Handel ETO 2009

      The dramatic middle ground is provided by the secondary lovers, Vitige and Teodata. A plum role for a juvenile female alto (even playing a member of her own sex — so rare in Handel!) it is Teodata who Flavio decides to win at all costs. Carolyn Dobbin captures her uncomplicated sexiness beautifully, with a relaxed and attractive presence and excellent diction.

    • Flavio, Handel ETO 2009

      Carolyn Dobbin’s radiant mezzo made Teodata the single most arresting vocal contribution in Flavio

    • ‘The Diary of the One Who Disappeared, Janacek ’ Bath Festival 2009

      MacGregor herself was the pianist for tenor Paul Nilon and mezzo Carolyn Dobbin in Janácek's too-rarely-heard song cycle The Diary of One Who Disappeared. In the right hands, the narrative strength of this tale of pastoral love - realised but lost - can take on operatic force. It did so here. Nilon delivered Rodney Blumer's haunting translation of the unknown Czech author's words with uncompromising clarity, while Dobbin portrayed his Gypsy seductress with the most luscious tone.

    • ‘Die Fledermaus’ Castleward Opera 2009

      Carolyn Dobbin is an outstanding Orlofsky clearly loving the ambiguity of the role, with a voice of pure gold.

  • 2008
    • ‘The Tales of Hoffmann’ Mid Wales Opera 2008

      Hopkins rightly stresses the central relationship between Hoffmann and his muse, Nicklaus (the superb Carolyn Dobbin). It’s she who’s the stage manager as Hoffmann recounts his battles.

    • ‘The Tales of Hoffmann’ Mid Wales Opera 2008

      The stand-out vocal performance of the evening for me however was that of Carolyn Dobbin, singing Hoffman's Muse and Nicklaus. From her slight, boyish frame onstage came a gloriously secure stream of well-directed and carefully articulated sound, her diction as precise as the centre of each note that she hit. Dobbin loses nothing in force and clarity as she moves into the lower mezzo register and as a result her portrayal of the role was outstanding: a beautiful sound at the top of her voice and a real spinto effect in the middle of her range. This was classy singing and her ovation at the end of the evening told its own story.

    • ‘The Tales of Hoffmann’ Mid Wales Opera 2008

      Carolyn Dobbin, a mezzo of great warmth and clarity.

    • ‘The Magic Flute’ Holland Park 2008

      ..later stabbed with their hat-pins by the excellent Three Ladies (Natasha Jouhl, Carolyn Dobbin, Alexandra Sherman, looking every inch the femmes fatales in their black Fifties frocks and stockings).

    • ‘Ravel's Shéhérazade’ Oxford Sinfonia 2008

      To close the first half, soloist Carolyn Dobbin took to the stage for the song cycle Shéhérazade. With an impressive CV it was no surprise that her performance tonight was both musically and theatrically superb. This performance was sometimes (but not always) matched by the orchestra, which had some tuning issues in the brass section. The first poem, Asie, was sung with a wide-eyed restraint, occasionally breaking forth into exuberant climax. There was some beautiful flute playing in La flûte enchantée, and L’indifférent was delivered with a delicious sensuousness.

    • ‘Handel's Messiah’ Edinburgh Choral Union 2008

      Carolyn Dobbin may have been billed as a mezzo but has real richness in the true alto notes of her range, and the profound simplicity of her He Was Despised with just the spare organ line was a highlight.

  • 2007
    • ‘The MusicMakers’ Lanercost Festival, 2007

      Carolyn Dobbins superbly, rich voice rose above the sweeping phrases of the full choral sound but was sensitively accompanied by the choir in the more reflective moments

  • 2006
    • Elgar’s ‘Sea Pictures’

      Here we enjoyed the full range of Carolyn Dobbin’s beautiful voice involving the listener as the various moods of the sea expressed in the text were so well interpreted.

    • Lanercost Festival , Elijah, june 2006

      the first duet featuring Patricia MacMahon and Carolyn Dobbin was like a clear, cool, healing stream. .... while Carolyn Dobbin’s O rest in the Lord was refreshingly unlaborious ; which is, after all what rest is meant to be.......So too was that of Carolyn Dobbin, who raised the musical temperature whenever she sang

    • Lisetta, il mondo della luna, Iford festival 2006

      Carolyn Dobbin's brassy maid Lisetta was the most engaging of a likeable bunch

  • 2005
    • Ten Tors Recital, Plymouth University 2005

      But the real touch of pure magic was ultimately afforded  by the delightful voice and charming demeanor of Carolyn Dobbin, whose  effortless delivery and clear diction were simply a joy to hear, and which  positively left the appreciative audience spellbound!

    • Ottavia, The coronation of Poppea, RSAMD 2005

      Perhaps Carolyn Dobbin, the Ottavia, might have made a  sexier and more sonorous Poppea. This was a real voice with glitter and focus.

    • Cosi Fan Tutte, Northern Symphonia,The Sage Gatehead 2005

      The performer who made a big impression was Carolyn Dobbin, a mezzo-soprano from Ireland who played one of the sisters, Dorabella. With the looks of Catherine Zeta Jones and the comic timing of Dawn French she held us captivated throughout. “She was a teacher just two years ago” – said Sir Thomas proudly

    • Cosi Fan Tutte, Northern Symphonia,The Sage Gatehead 2005

      Henriikka Grondahl is well complimented by Carolyn Dobbins  richer, chestier Dorabella

    • Cosi Fan Tutte, Northern Symphonia,The Sage Gatehead 2005

      Carolyn Dobbin's Dorabella and Henriikka Grondahl's  Fiordiligi are superb.

    • Dido and Aeneas, The Orchestra of the age of Enlightenment, The Barbican 2005

      Conducted by Richard Egarr ...ably assisted by witches  Caroline Dobbin and Lestyn Davies giving a wicked comic turn.

    • Dido and Aeneas, The Orchestra of the age of Enlightenment, The Barbican 2005

      The Sorcerer spendidly flanked by Caroline Dobbin and  lestyn Davies as the cackling witches, could have come straight from Gilbert  and Sullivan

    • Recital Rosemary Street, Belfast

      With a voice perfectly suited to the darkly dramatic  emotional landscape evident in this repertoire, Dobbin was able to highlight  the connections between disparate pieces. From Mahler’s Ruckert Lieder and  Joseph Horovitz’s depiction of Lady Macbeth to the unaccompanied irish encore,  folk music was the pervasive force. The singer’s voice is rich and powerful but  also naturalistic and immediately approachable and she brought Ruckert’s German  and Shakespeare’s english equally to life. It was the performance of the  Shakepeare’s setting , in fact, that provided the highlight of the afternoon.  This ‘scene’ for mezzo soprano and piano, was unusual but a welcome addition to  the recital. Here, experience gained on the operatic stage was evident as the  mezzo charted Lady Macbeth’s decline in gripping fashion

  • 2004
    • Castleward Opera, Rigoletto 2004

      Carolyn Dobbin was just right as the seductive Maddalena…

    • …the smaller roles are well cast, particularly Carolyn  Dobbin’s earthy Maddalena…

    • Dido and Aeneas, RSAMD 2004

      The most impressive thing about these productions is  there overall effect rather than strengths of individual performances, although  the presence of the central roles is generally admirable especially…… Carolyn  Dobbins rich voiced, dramatic portrayal of the mournful Dido

    • Le Nozze di Figaro, RSAMD 2004

      It was the Bottom of this that provided Cherubino( nicely  sung by Carolyn Dobbin) with his escape route…..the costumes were  staightforward although Cherubino was a picture in burgundy

    • Messiah, Usher Hall 2004

      Of the young soloists, mezzo soprano Carolyn Dobbin and  baritione John Mackenzie impressed with solid performances

  • 2003
    • Recital, Rosemary Street, Belfast 2003

      This was a most rewarding and stylish performance by a  singer of whom we shall hear much of in the future…

    • Transfusion, Kilkenny Festival 2003

      It was designed to give’ a residency opportunity for  professional development to six young international musicians’ and the man in  charge was trumpeter John Wallace, who’s also Principle of the Royal Scottish  Academy. The residency resulted in four concerts over three days, and the  budding star of the two that I heard was mezzo soprano Carolyn Dobbin, who has  recently given up her career as a teacher of art and design to concentrate on  musical performance. She’s been heard in recital around Northern Ireland, and  has taken small roles in opera productions at Castleward. Here, she showed  herself at her best in a lunchtime group of caberet songs, the beauty of her  voice sounding unaffected and natural, the comic touch light, and the musical  presentation free and easy to match……

  • 2001
    • Castleward Opera, Lucia di Lammermoor

      Lucias maid, Alisa, sung by Carolyn Dobbin, was an  electrifying presence…

    • Castleward Opera, Opera and Chips

      Carolyn Dobbin who, in addition to possessing an  impressive set of lungs, is a dead ringer for Catherine Zeta Jones- performed  one of the many vocal hightlights of the night. Wearing a shawl and a scrap of  a peasant dress, she hopped up on the bar to serenade diners with Seguidilla  from Carmen. The audience certainly looked convinced as she finished her  performance and skipped off in the direction of the rest rooms. Noel Thompson  loosened his tie and muttered, “ I hope she does a take away”. It was that sort  of evening

    • Barbarina

      Given the fine accoustic here, the fault has to be with the singers themselves, and curiously the one with the greatist vocal presence without any forcing that I could hear – also had the smallest part; Carolyn Dobbin’s Barbarina showed just what was missing