Louise Mott
“Louise Mott... is spirited as Hoffmann’s sidekick Nicklausse”
Nicklause, Tales of Hoffmann, ETO
Richard Morrison, The Times
“Louise Mott does sterling work as Hoffmann’s companion Nicklausse”
Nicklause, Tales of Hoffmann, ETO
Rupert Christiansen, The Telegraph
“Dressed as a schoolboy with cap and shorts, Louise Mott brings sterling voice and dramatic integrity to Hoffmann’s
loyal pal, Nicklausse, tripling up as his Muse and the voice of frail Antonia’s ghostly mother”
Nicklause, Tales of Hoffmann, ETO
George Hall, The Stage
“Louise Mott['s] final soliloquy as the Muse was beautifully sung”
Nicklause, Tales of Hoffmann, ETO
Mark Rona, Markronan.com
“Louise Mott could easily have been overshadowed as the Muse and Niklausse. As the Muse she brought a certain
sense of style to the role, with a feeling of androgyny and as Niklausse she wasn't a young companion but a
monstrous food obsessed schoolboy, a role Mott played with great glee. This worked surprisingly well, and made a
great deal of sense of those moments when Niklausse is completely ineffective in the drama. Mott, singing with a
lovely rich tone, was nicely fluent in the role and brought a great sense of wit to the drama. Mott also sang the role
of Antonia's mother, doing it as a ventriloquial act under the control of Warwick Fyfe's Dr. Miracle”
Nicklause, Tales of Hoffmann, ETO
Robert Hugill, Planet Hugill
“Louise Mott completes a superb quartet of lead singers and is a constant delight as Nicklausse, the not-so veritas
Muse that Hoffmann finds in the vino”
Nicklause, Tales Of Hoffmann, ETO
Mark Valencia Whatsonstage.com
“Sam Furness... leads as Hoffmann...getting fine support from Louise Mott, who also shows super comic timing as his
Muse”
Nicklause, Tales Of Hoffmann, ETO
Gary Naylor Broadwayworld.com
“Louise Mott is effective as the Muse and Nicklausse as her highly pleasing mezzo-soprano feels focused and
Unforced”
Nicklause, Tales Of Hoffmann, ETO
Sam Smith, MusicOMH.com
“Louise Mott did a good job in her mistress of ceremonies role and I enjoyed her transformation into the Billy Bunterlike
Nicklausse and the subversive humour she brought to the role. Her singing was solid in the prologue and became
increasingly accomplished as the work progressed – she gave us some of her best singing when she transformed into
Antonia’s mother”
Nicklause, Tales Of Hoffmann, ETO
Robert Beattie Seen and Heard International
“The soprano, Tessa Spong, and mezzo-soprano, Louise Mott, contrasted well in their second-scene duet; Mott's extended recitatives had a glowing clarity - a very fine team of soloists".
The Kingdom, Edward Elgar
Three Spires Singers and Truro Choral Society, Truro Cathedral
Judith Whitehouse (www.westbriton.co.uk)
“Louise Mott, the mezzo soprano, is a very dramatic singer with good coloratura and was partnered with baritone David Stephenson very successfully in extracts from The Barber of Seville.”
Amore a Roma, Diva Opera, (Gala Sue Ryder Appeal Gala)
Avril Hemingfield
“Mezzo soprano Louise Mott gave one of the most dramatic performances of the show as Marcella, the hard-nosed wife of the governor”
Marcella, Alban (Tom Wiggall), St Albans Abbey, Hertfordshire
John Manning, Herts Advertiser
“Louise Mott delivered each showcase aria with passion and precision”.
Ariodante (title role), Cambridge Handel Opera Group
Opera Magazine
“The singing is very good, with Louise Mott (Penelope) and Sadhbh Dennedy (Nausicaa) outstanding in their roles”
Odysseus Unwound (Julian Grant), Tête à Tête
Warwick Thompson, Metro
“On the way, pretensions were popped, heartstrings tugged... Last but one, a woman meditated on an impending stillbirth, beautifully sung by Louise Mott”
Push! (David Bruce), Tête à Tête, Riverside Studios, Hammersmith
Robert Maycock, The Independent
“Louise Mott is outstanding as Angela, whose baby is still-born”.
Push! (David Bruce), Tête à Tête, Riverside Studios, Hammersmith
Nick Kimberley, Evening Standard
“Louise Mott is a circus ringmistress with a line in hypnotism, her gear, from guns to lipstick, stashed in her memorable embonpoint. Mott is full of fury, sorrow and unconquerable love”
Amadigi di Gaula, Early Opera Company, Iford
Robert Thicknesse, The Times
“...as Ariodante, Louise Mott sings with persuasive freedom...”
Ariodante, English Touring Opera
Nick Kimberley, Evening Standard
“Louise Mott sang (the role of Ruggiero) with aplomb. Hers is not a powerful voice but agile, expressive and beautiful nevertheless”
Ruggiero, Alcina, Early Opera Company, Wigmore Hall
Stephen Pettitt, Evening Standard
“...Apollo et Hyazinthus with its translucent, harpsichord-dominated textures, effortless Stravinskian wit and spare, final, affecting setting of Georg Traki's poetry for a mezzo-soprano ([sung by]the excellent Louise Mott) proved totally compelling...”
Apollo et Hyazinthus (Henze), Endymion Ensemble, Purcell Room
Keith Potter, The Independent
"A subdued episode when a woman mourns her dead husband had seemingly little place in the sketchy plot, but provided a welcome opportunity to hear Louise Mott, a polished and expressive mezzo."
Alfred (Thomas Arne), Early Opera Company, Linbury Theatre, Royal Opera House
Erica Jeal, The Guardian
“Louise Mott rightly underplayed Agrippina's villainy with the straightest of faces and sang with consistently beautiful and expressive mezzo tone”
Odysseus Unwound (Julian Grant), Tête à Tête, Alexandra Palace Theatre
Rodney Milnes, The Times
“There were no weak links in the cast, but the women had the best of it. Louise Mott's Agrippina was simultaneously a treacherous schemer and a mother with tender feelings”
Agrippina, Early Opera Company, St John's, Smith Square
Nick Kimberley, The Independent
“Louise Mott's searingly intense performance [of Blind Mary] caught both the mythical and human dimensions of the role. She achieved a superb mastery of the supernatural emotional and musical range of the part - from the inwardness of her opening humming, which seemed to colour the dark silence of the auditorium, to her final, impassioned railing aganist the cycles of sacrifice and death. And this brilliant vocal display was complimented by the strength of Mott's dramatic characterization. In the concluding scene, the Blind Woman miraculously regains her eyesight. But there was little sense of hope in Mott's performance, as her blindness had become a metaphor for the lack of vision and understanding among the warring men. Mott's Blind Woman remained unaffected by the impassive, plainchant-inspired chorus of Saints. She continued as desolate and desperate as before lighting and extinguishing a single candle while imploring the audience to consider when the senseless suffering and cruelty will cease”
The Martyrdom of St Magnus (Maxwell-Davies), The Opera Group
Tom Service, Opera
“Louise Mott is very exciting [as Erika] in this show-stealing part - thanks to the powerful and wondrous soft sheen in her voice”
Erika, Vanessa, The Other Theatre Company
Tom Sutcliffe, Evening Standard
“Louise Mott's firm, satin-sheeny tone was perfect for Dido: her poised singing of the Lament held the full, appreciative house breathless”
Dido and Aeneas, Early Opera Company, St John's, Smith Square
Rodney Milnes, The Times
“Louise Mott sang with opulent tone and a musical sensibility that did full justice to Turnage's soaring vocal lines”
Greek, London Sinfonietta, Queen Elizabeth Hall, London
The Times
“But it was Louise Mott's orgasmic act two 'Love Aria', in which she hymned the 'flowing river' of Eddy's body while crawling on all fours across the floor of their now up-market cafe, that hit the emotional G-spot of the evening”
Greek, London Sinfonietta, Queen Elizabeth Hall, London
Mark Pappenheim , The Independent
“A quite remarkable Serse...lovely of timbre, virtuosic, exciting in the delivery of her two great bravura numbers...”
Serse, Early Opera Company, Rudolf Steiner Theatre, London
Hugh Canning, Opera
39 High Firs, Gills Hill, Radlett, Hertfordshire, WD7 8BH, UK
Telephone: +44 1923 854433 Facsimile: +44 1923 499007
E-mail: Website: www.hayeswalker.co.uk
Company Registered in England Number 04647675