L’Ormindo
“Soprano Anna Fraser scores one of the show's most notable successes as both Melide (Sicle's lady-in-waiting) and Mirinda (Erisbe's companion). Fraser's singing is charming throughout, but her real star turn is in the latter role, wandering among the orchestra to deliver a virtuosic and very funny tirade against "foolish old men".”
The Opera Critic – Sarah Noble; Pinchgut Opera’s L’Ormindo by Cavalli December 2009
“Anna Fraser was even more remarkable. In last year's David et Jonathas all she had was a couple of lines; here she sang not one, but two roles, playing both Melide (Sicle's lady-in-waiting) and Mirinda (Erisbe's companion). It was really quite a tour de force. Her singing was elegant and delicately shaded, easily holding its own against that of her more experienced colleagues, and her fabulous rendition of Mirinda's "Vecchi, insensati" (a hilarious diatribe against the folly of May-December romances) proved she's as stylish a comedienne as she is a singer.”
Prima La Musica – Sarah Noble; Pinchgut Opera’s L’Ormindo by Cavalli December 2009
“Anna Fraser is a soprano of darker hue, doubling the roles of Melide and Mirinda. As the latter, she was allowed the extended scena “Se del Perù”, commenting cynically on the perils of marrying an old man. This was extremely well-delivered both vocally and dramatically, as she sashayed through the orchestra (located on the auditorium floor in front of the stage) fondling the violinists, Erin Helyard’ s hairless head (“vecchi, insensate”) and the neck of a theorbo (a nice Freudian touch).””
Opera Britannia – Sandra Bowdler; Pinchgut Opera’s L’Ormindo by Cavalli December 2009
“Anna Fraser's voice, in a pair of lady-in-waiting roles, has matured into a strong, well-controlled sound. Its colour and flexibility are well matched by Andrei Laptev, as her eventual partner.”
SMH – Peter McCallum; Pinchgut Opera’s L’Ormindo by Cavalli, December 2009
“Particularly noteworthy was the treatment two minor characters...Anna Fraser’s Mirinda, maid of the leading lady Erisbe, Queen of Morocco, had a splendid moment of glory as she paraded through the audience lewdly haranguing the women about the down side of lumbering oneself with an elderly husband.”
North Shore Times – David Gyger; Pinchgut Opera’s L’Ormindo by Cavalli, December 2009
Castor et Pollux
“Anna Fraser, who took on a variety of smaller roles, had in some ways the most thrilling sound – big and effortless.”
Bachtrack – David Larkin; Pinchgut Opera’s Castor et Pollux by Rameau, December 2012
“Among the minor characters Anna Fraser was always engaging in her versatile account of three separate roles.”
Australian Stage – Nicholas Routley; Pinchgut Opera’s Castor et Pollux by Rameau, December 2012
“Soprano Anna Fraser displayed impressive tonal variety in her trio of supporting roles.”
The Australian – Murray Black; Pinchgut Opera’s Castor et Pollux by Rameau, December 2012
“The soloists all play their roles with flair and beauty. Anna Fraser's voice and stage presence go from strength to strength.”
Sydney Morning Herald – Harriet Cunningham; Pinchgut Opera’s Castor et Pollux by Rameau, December 2012
“Anna Fraser (also singing in the chorus) paired nicely with Ms. Plummer as Cléone, Phœbé’s moon-priestess-confident, and also singing a seductive take on the celestial spirit whom Jupiter sends down to try to dissuade Pollux of giving up his immortality for Castor.”
Berkshire Review – Andrew Miller; Pinchgut Opera’s Castor et Pollux by Rameau, December 2012
Canberra International Music Festival
“With its transcendent fusion of Japanese poetry and music...Peter Sculthorpe’s Love Thoughts sings and speaks from the oldest anthology of Japanese poems. A stunningly profound performance was given by soprano Anna Fraser.”
Canberra Times – Steven Bailey; Canberra International Music Festival’s Barbara BlackmanConcert, May 2010
“Anna Fraser gave a truly wonderful performance. Her beautifully executed ornamentation, warmth in the lower register and unfaltering clarity in the upper register were a pure core of energy at the heart of the concert. Her duets with Min Karidis were delectable and the two voices were well matched in the choruses.”
Canberra Times – Jennifer Gall; Canberra International Music Festival’s Bach Mass in B Minor, May 2012
Ondine Productions
“Anna Fraser, as the Siren and Nunzia, was especially vocally versatile as well as physically energetic.”
Early Music Association – Neville Olliffe; Ondine Productions’ La Liberazione di Ruggiero dall’Isola d’Alcina by Caccini, July 2012
The Song Company
“Ship to Shore” is a fast moving medley of sea shanties and folk songs composed, re-composed and de-composed for the six-piece vocal ensemble and two guitars, played by Leonard and Slava Grigoryan. Highlights included Anna Fraser’s Surabaya Johnny – she’s no smoky chanteuse but her sweet tone clashed wonderfully with the bitter words.”
SMH – Harriet Cunningham; The Song Company’s Ship to Shore, November 2012
“Anna Fraser sang Bononcini’s La Lamenta d’Olimpia. Both recitative and aria were presented with great confidence, clarity of line and ringing tone, as was “Tornami a vagheggiar”, that most famous aria from Handel’s Alcina. It came across in powerfully assertive and affirmatory terms.”
West Australian – Neville Cohn; The Tall Poppea’s Too hot for Handel?, July 2005
Thoroughbass
“This compact, varietal concert proved nicely balanced as regards to use of the performers. Soprano, Anna Fraser, sang adeptly: strength where it was needed with no loss of sweetness and clarity. The cantata, Corydon by Pepusch, integrated voice and recorder stylishly with cello and harpsichord picking up the vibes. It was an ideal close to the program. At the other end of the concert, Louis-Maurice’s de la Pierre’s cantata, Danae, exuded vigour, Anna’s ornamentation adroit.”
Early Music Association – Neville Olliffe; Thoroughbass’ Delights of the Drawing Room, April 2010
“Very fine voices burst forth from Glass’ textural tapestry in this appropriately costumed and choreographed court. Anna Fraser’s soprano voice crowned many Glass fanfares in the powerful style demanded by this composer.”
Arts Hub – Paul Nolan, Thoroughbass’ Hymn to the Sun, July 2013
Elizabeth Wallfisch Band
“The heart of the two concerts lay in the moving arias in the cantatas. Several of these had an imploring oboe line intertwined with the voice, beautifully played by Leo Duarte. The talented young soloists seemed totally immersed in the emotional gravity of the texts...Anna Fraser struck a better balance of meaning and melody.”
The Telegraph, London – Ivan Hewett, Wallfisch Band’s Bach Cantatas, Kings Place, London, December 2012/January 2013
Discography
Featured Soloist
Charpentier: David + Jonathan
Live recording of Pinchgut Opera’s 2008 production featuring Cantillation and Orchestra of the Antipodes, conducted by Antony Walker
ABC Classics (2009)
Hallelujah! A Celebration of Baroque Chorus
Also featuring Cantillation and Orchestra of the Antipodes, conducted by Antony Walker
ABC Classics (2007)
River Symphony: Sean O’Boyle
Also featuring Jane Sheldon, Willoughby Symphony Choir and South Brisbane Federal Band; conducted by Sean O’Boyle.
ABC Classics (2007)
Rameau: Dardanus
Live recording of Pinchgut Opera’s 2005 production featuring Cantillation and Orchestra of the Antipodes, conducted by Antony Walker
ABC Classics (2006)
Monteverdi: L’Orfeo
Live recording of Pinchgut Opera’s 2004 production featuring Cantillation and Orchestra of the Antipodes, conducted by Antony Walker
ABC Classics (2005)
Ensemble
The Song Company
Kalkadunga Yurdu
Featuring William Barton; Directed by Roland Peelman. Produced by Ralph Lane OAM and Roland Peelman for The Song Company (2009)
Waltzing Matilda: Songs of Oz
Selections from a live performance, Utzon Room, Sydney Opera House, Oct 2007
Pinchgut Opera
Vivaldi: Juditha Triumphans
Live recording of Pinchgut Opera’s 2007 production featuring Cantillation and Orchestra of the Antipodes, conducted by Attilio Cremonesi
ABC Classics (2008)
Mozart: Idomeneo
Live recording of Pinchgut Opera’s 2006 production featuring Cantillation and Orchestra of the Antipodes, conducted by Antony Walker
ABC Classics (2007)
Cantillation
Mozart Requiem: Exsulate, Jubilate
Featuring Cantillation and Orchestra of the Antipodes; conducted by Antony Walker
ABC Classics (2010)
Songs for the Shadowland
Vocal music by Paul Stanhope featuring Cantillation; conducted by Paul Stanhope
ABC Classics (2010)
Emma Kirkby: Magnificat
Featuring Cantillation and Orchestra of the Antipodes; conducted by Antony Walker
ABC Classics (2006)
Ye Banks and Braes: Folksongs to touch the heart
Featuring Cantillation and Sinfonia Australis; conducted by Antony Walker
ABC Classics (2006)
