Reviews

‘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 Times, Neil Fisher

‘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. MusicalCriticism.com, Mike Reynolds

‘The Tales of Hoffmann’ Mid Wales Opera 2008

Carolyn Dobbin, a mezzo of great warmth and clarity. Birmingham Mail, David Hart

‘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). The Times , Richard Morrison

‘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. Keith Bruce, The Herald

‘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

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

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

- - - - - -- - - ----- ------------------------------.Robert thickness, Opera Now, Nov 06

Ten Tors Recital, Plymouth University

'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!'

Philp R Buttall, The Herald, April '06

Ottavia, The coronation of Poppea, RSAMD

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

Raymond Monelle, Opera magazine, july 2005

'..Carolyn Dobbin...was impressive in an evening of heady sexiness.'

Robert Thickness, The Times, May 2005

Cosi Fan Tutte, Northern Symphonia,The Sage Gatehead

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

Thomas Hall, The journal, July 2005

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

Alfred Hicking, The Guardian, 2005

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

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

William Yeoman, Classical source, April 2005

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

The Times, Richard Morrison, April 2005

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.’

Rathcol, Belfast Telegraph, 19th August 2004

Der Freischutz, Sir Charles Mackerras, Usher Hall

'….. and a delightful quartet of post graduate singers from the Royal Scottish Academy of Music nd Drama- Carolyn Dobbin…, as the Bridesmaid'

Kenneth Walton, The Scotsman, 18th August 2004

Castleward Opera, Rigoletto.

'Carolyn Dobbin was just right as the seductive Maddalena…'

Ian Fox, Opera Magazine, Aug 2004

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

Dermot Gault, Irish Times, 7th June 2004

Dido and Aeneas, RSAMD

'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'

The Herald, May 2004

Le Nozze di Figaro, RSAMD

'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'

Neil Jones, Opera now, 2004

'..a vivd portrayal matched by Carolyn Dobbins buxom, funny Cherubino.'

Conrad Wilson, The Herald, February 2004

'..and Carolyn Dobbin’s randy young Cherubino, act their socks off'

Thom Dibdin, Evening news, 6th february 2004

Messiah, Usher Hall

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

Susan Nickalls, The Scotsman, January 2004

Recital, Rosemary Street, Belfast

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

Leonard Pugh, Belfast Telegraph, 25th August 2003

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……'

Michael Dervan, Irish times, 18th August 2003

Castleward Opera, Lucia di Lammermoor.

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

Simon Trezise, Opera now 2002

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'

Roisin Ingle, Irish Times, March 2002

Castleward Opera, Marriage of Figaro.

'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'

Simon Trezise, Opera now 2001