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Beatrice in Music Oft Hath Such a Charm (Byre in the Botanics, St Andrews)

‘…the rich, creamy mezzo voice of  Flora McIntosh’ (****Carol Main, The Scotsman)

Rosina in Il barbiere di Siviglia (Pop-Up Opera)

‘A truly 5 star production…Flora McIntosh and Joseph Doody stood out with their faultless harmonisation and on stage chemistry.’ Helena Gumley-Mason, The State of the Arts)

Romeo in I Capuleti e I Montecchi (Pop-Up Opera)

‘Flora McIntosh as Romeo displayed a wonderfully rich and even mezzo-soprano voice, with a lovely sense of the flexible line necessary to bring this role off. She has the right depth of tone and sense of intensity, combined with a nice feel for the more ornamental moments. McIntosh cut an admirably androgynousBest day  figure, really convincing as the impetuous young hero, equally as violent as Capellio and his gang.’ (****Robert Hugill Planet Hugill)

‘…a lower range of considerable power and warmth, her dashing acting was both touching and recklessly vivid.’ (Peter Reed, OPERA)

‘Flora McIntosh is convincing as the young tearaway Romeo and her vibrantly rich mezzo well tuned to Bellini’s sublime “bel canto” score.’  **** Clare Colvin, Sunday Express)

Flora McIntosh (Romeo) creates a memorable portrait of a sullen and over-excitable teenager, bristling with anger and hormones, and Alice Privett is fascinatingly nervy and neurotic as Giulietta. Both have excellent bel canto techniques, and their tomb scene is as emotionally wrenching as in any staging I’ve seen. Some of the audience were openly sobbing; my own eyes were pricking. Bellini must have been looking down in delight.’ (****Warwick Thompson)

Popup Opera is very fortunate to have the splendid Flora McIntosh – anyone who has seen her sing a sexy Carmen will be shocked at how well she captures the swagger of adolescent gangster yob Romeo. She pitches her voice perfectly – delivering dramatic power when it’s needed but generating a sweetness of tone when it needs to be soft.’ (****Owen Davies

Performed magnificently by Flora McIntosh, she is utterly believable as the hot-headed and irresistible male lead.‘ (*****Helena Kealey,

‘The calibre of singing was among some of the finest I have yet heard from Pop Up, especially from the two leads: Alice Privett who played Giulietta and Flora McIntosh, who played Romeo. It is not an easy thing to play an angsty teenage girl, let alone an infuriatingly angsty boy but McIntosh and Privett conveyed not only the extreme youth and innocence of the lovers, but their vulnerability and futile rebellion against their families.’ (The State of the Arts)

Carmen (OperaUpClose)

Byre in the Botanics, St Andrews

Consistently first rate singing…For all her defiance, it was the vulnerable humanity of Carmen that lingered in Flora McIntosh’s sassy, confidently alluring enactment of the title role, a fitting complement to tenor Anthony Flaum’s ego-driven José.’ (****Carol Main, The Scotsman)

Oxford Playhouse 2016

‘Horrifying and electrifying…The cast are, without exception, excellent singers and actors. The title role is powerfully played by Flora McIntosh who is every bit the strong-willed yet vulnerable woman.’ (**** Rob Hall, Oxford Times)

Belgrade Theatre, Coventry 2016

Flora McIntosh as leading lady…switches from sexy and sassy to sensitive and vulnerable in an instant, her mannerisms, both when acting and singing, are too charming to ignore and you find yourself watching her even when she isn’t centre stage.‘ (***** The Reviews Hub)

Soho Theatre 2015 

‘Impressively conveyed….Flora McIntosh provides a lyrically warm and vocally powerful Carmen.’ (George Hall, OPERA)

‘The opera is called Carmen for a reason…Flora McIntosh delivered the kind of perceptive portrayal rarely possible in traditional opera houses.’ (**** Evening Standard)

‘Committed performances from a cast that is uniformly vocally strong…Flora McIntosh brings solid conviction to her singing.’ (The Guardian)

‘McIntosh gives a vivid, psychologically rich portrayal of Carmen. She is such a resplendently colourful figure that her death, when it arrives in a shock of arterial spurts, is gutwrenching. It’s a fittingly spectacular end to an exhilarating performance.’ (**** City AM)

‘A strong-voiced, tight-knit cast that fully commits to the drama…Flora McIntosh’s Carmen conveys a capricious and strong-willed woman who is also vulnerable.’ (**** The Stage)

‘Flora McIntosh impressing with a fine mezzo voice and strong acting presence’ (**** Sunday Express)

‘McIntosh’s Carmen is memorable and her singing is sublime…the final act between Carmen and Jose is truly electrifying.’ (Camden Review)

‘Flora McIntosh is a strong Carmen, she is a fine actor and has wonderful control of the darker colours in her vivid true mezzo.’ (Tribune Magazine)

Cherubino in Le Nozze di Figaro (Regents Opera, 2015)

‘Flora McIntosh is a delight as Cherubino, endowing him with boyish cheek as well as adolescent gawkiness, and singing his wonderful arias with supreme skill and control: her “Voi, che sapete” is superb…her voice soaring throughout.’ (Charlotte Valori, Bachtrack)

Flora in La Traviata (OperaUpClose)

Tricycle Theatre 2015

‘Mezzo Flora McIntosh makes a vocally dazzling all-purpose companion’ (Michael Church, Independent)

McIntosh showcases her admirable vocal and acting talent as Flora – it was only a pity that she felt somewhat underused. That Violetta died in Flora’s arms however was a thoughtful piece of direction by Norton-Hale and acknowledged the importance of the women’s relationship.’  (Deborah Klayman, The Public Review)

Soho Theatre 2014

‘Flora makes a good deal of her seen-it-all namesake Flora.’ (George Hall, The Stage)

The music itself was powerfully rendered…Flora McIntosh was snsuous, sophisticated and strong as Violetta’s best friend Flora’ (Charlotte Valori, Bachtrack)

‘Flora McIntosh is a warm, sympathetic presence as Violetta’s best friend Flora, who here also takes on the activities and attributes of Violetta’s loyal servant Anina’ (Jason Best, Time Out)

Opera Gala (Huddersfield Philharmonic Orchestra)

‘Flora McIntosh gave a magnificent Rosina in Una Voce Poco Fa. Her coloratura and higher range blossomed in this aria, which was full of character as she ranged from sweet, innocent girl to attacking viper.’ (Huddersfield Examiner)

3rd Lady/3rd Boy in The Magic Flute (Regents Opera)

‘The red-lipped Three Ladies were a terrific ensemble act…’ (Classical Source)

Idamante in Mozart’s Idomeneo (New Sussex Opera)

‘…Flora McIntosh was a Mozartian model of expressive and musical integrity, subtly inflecting her warm and affectingly vibrant mezzo to mirror every turn in the music and in the prince’s bewilderingly changeable fortunes.’ (Mark Pappenheim, OPERA)

2nd Lady in Mozart’s The Magic Flute (Grange Park Opera)

The best performances came from the Three Ladies (Rebecca von Lipinski, Flora McIntosh and Margaret Rapacioli).’ (Sunday Times)

 ‘The ladies themselves (Rebecca von Lipinski, Flora McIntosh and Margaret Rapacioli) were delightful, with a nice taste in comic business…’ (Robert Hugill, Music and Vision)

L’Enfant et les Sortileges, Ravel (European Opera Centre)

Flora McIntosh was excellent…’ (Liverpool Echo)

Myrtale in Massenet’s Thais (Grange Park Opera)

…a wonderfully enjoyable evening…Elizabeth Bailey and Flora McIntosh (as) Crobyle and Myrtale displayed lovely voices in Massenet’s lively vocal writing…’ (Robert Hugill, Music and Vision)

Carmen (Opera Garden)

Flora McIntosh has a fabulously sexy voice of prodigious range, its husky, smoky timbre making itself felt even in the ensembles. McIntosh’s performance was superb: archly vamping when tempting José and Escamillo, but subtly descending into near madness as José spurns her.’(Neil Jones, OPERA NOW)

 ‘A production packed with thrills…Flora McIntosh’s Carmen positively reeked of menace.’ (Jane Robinson, THE SCOTSMAN)

Meg Page in Verdi’s Falstaff (Opera Garden)

…one of the finest productions of Falstaff I’ve seen…Flora McIntosh excels as Meg Page.’ (Caroline Brodie, The Press & Journal) 

Suzanne in Martin Butler’s A Better Place (RNCM)

Flora McIntosh was utterly brilliant with rich vocal tone and a strong portrayal.’ (Manchester Evening News)

‘The production benefited from excellent singing, with Flora McIntosh as the well-meaning but mixed-up Suzanne.’ (Lynne Walker, OPERA NOW)

Fanny Nelson/Emma Hamilton in A Sailor’s Tale for NMC Recordings

…an entertaining and creditable debut. The performers acquit themselves well with Andrew Heggie and Flora McIntosh both proving effective in the principal roles.’ (Christopher Thomas,

Armida Abbandonata (Handel) in L’Amaranto (Batignano Festival)

Beautifully played by Flora McIntosh.’ (OPERA)

Masha in The Queen of Spades (RNCM) 

”…and in the tiny role of Lisa’s maid, Flora McIntosh sounded as if her progress will be worth watching.’(Michael Kennedy, SUNDAY TELEGRAPH)

‘Among the smaller roles…my ear was caught by the Masha of Flora McIntosh, caught listening (“Gosford Park” style) outside the door to Liza and Polina’s duet.’  (Andrew Collins)