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Dryad in Ariadne Auf Naxos (Longborough Festival Opera)

‘Flora McIntosh’s exceptional Dryad was warmly expressed and beautifully acted’ (Charlotte Valori, Bachtrack)

‘I was impressed and affected by the deep mezzo timbre, musicality and stage presence of Flora McIntosh as Dryad’ (Sebastian Scotney, Critcis Circle)

The Nymphs are sung superbly… with the contralto of McIntosh standing out in particular’ (Sam Smith, MusicOMH)

Pauline in Gounod’s Polyeucte (UK premiere, Theatre Royal Stratford East)

‘Flora McIntosh’s astonishing Pauline. This is a really serious mezzo voice, bursting with focused passion, bringing much colour to a rather compromised heroine.’ (Robert Thicknesse, OPERA NOW)

‘The principals were cast from strength…Flora McIntosh brought a palpable dramatic charge and enticing smokiness in the lower register to Pauline’ (Yehuda Shapiro, OPERA)

’The singers in principal roles gave fine performances, none more so than Flora McIntosh as Pauline. Showing power and passion throughout with a lovely vocal tone she was the most compelling character on stage’ (Mark

‘Top quality singing from Luke Sinclair, Flora McIntosh and Jan Capinski’ (George Hall on Twitter)

Filipyevna (Evie) in Eugene Onegin (Arcola Theatre, OperaUpClose)

‘Flora McIntosh’s lovely mezzo gave Evie (Filipyevna) an edge and importance’ (Peter Reed, OPERA)

Flora McIntosh does wonders with the underwritten character of Evie, aka Tchaikovsky’s Filipyevna, here no longer an ancient nurse but the youthful companion of Larina’ (Mark Valencia WHATSONSTAGE)

‘…terrific work from rich-voiced Flora McIntosh as family friend Evie’ (Claudia Pritchard,

Das Lied Von Der Erde ‘Song of the Earth’  (English National Ballet)

Wonderfully sung by mezzo-soprano Flora McIntosh and tenor Simon Gfeller’ (Luke Jennings, The Observer)‘

‘Each of the six songs is exquisitely performed by mezzo soprano Flora McIntosh and tenor Simon Gfeller’ (Louise Winter, UK Theatre Network)

Tenor Simon Gfeller and mezzo soprano Flora McIntosh take it in turns to give superb solo performances of alternate songs’ (Georgina Butler, Writing/Dancing)

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

Flora McIntosh sang Romeo with extraordinary vividness. Bruised, dishevelled and determined, she was nobody’s dreamboat but a brooding, convincingly male figure of Hamlet-like darkness. The mezzo-soprano has to shoulder a substantial amount of the score, and to watch her character fall apart while she sustained a secure vocal line was thrilling.’ (Mark Valencia, WhatsOnStage)

‘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 androgynous figure, really convincing as the impetuous young hero, equally as violent as Capellio and his gang.’ (****Robert Hugill, Planet Hugill)

‘As Romeo Flora McIntosh is in fine voice, making good use of her powerful chest register.’ (Nick Kimberly, Evening Standard)

‘…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…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)

Kate Pinkerton in Madame Butterfly (Bury Court Opera)

‘A nice touch crucial to the dénouement was Flora McIntosh’s Kate Pinkerton, more prominently placed than is often the case, clad in a gorgeous outfit of the period in a dusky pink, and symbolising all too painfully the future. There was a kind of inevitability in her presence, well-judged, and wholly apt.’ (Rod Dunnet, Seen and Heard International)
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)

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 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 switches from sexy and sassy to sensitive and vulnerable in an instant 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 and Flora McIntosh delivered the kind of perceptive portrayal rarely possible in traditional opera houses.’ (**** Nick Kimberley, 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 impresses with a fine mezzo voice and strong acting presence’ (**** Sunday Express)

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.’ (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 sensuous, sophisticated and strong as Violetta’s best friend Flora’ (Charlotte Valori, Bachtrack)

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)

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)

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

‘Beautifully played by Flora McIntosh.’ (OPERA)