Carmen, Soho Theatre

Most impressive are vivacious soprano Louisa Tee as Micaela

Time Out

Tee also provides impressive vocalism, effectively matching Anthony Flaum’s powerful tenor

The Guardian

La Traviata, Tricycle Theatre

Louisa Tee’s bright-toned and deeply-moving Violetta


In the title role of ‘The Fallen Woman’, soprano Louisa Tee turns in another exemplary performance as Violetta. She originally trained as an actor and it shows; her dramatic skills are matched with a powerful and flexible voice. Her aria ‘Go To Your Daughter’ is particularly touching.

Time Out

Violetta, magically sung at the press performance by soprano Louisa Tee who is surely a top diva in the making…This brand of chamber opera also requires its singers to act capably, since almost every member of the audience is closer to them than any but those occupying the front few rows in a traditional opera house. Miss Tee delivers on that score as well, as she painfully depicts the mental and physical torments of passionate, consumptive Violetta.

British Theatre Guide

Reprising the role that saw her nominated for best female in the Off West End awards, it was clear why Louisa Tee attracted such accolades for her portrayal of Violetta. With a superb voice, excellent range and masterful control of the complex and complicated runs – particularly on the aria Sempre Libera – her vocal brilliance is unmatched. What made her performance truly outstanding, however, was her strength as an actress: her sincerity in her heartfelt and emotional final moments left audience members in tears.

The Public Reviews

La Traviata, Soho Theatre

Tee is exceptional – vocally secure, and totally credible in her delineation of both Violetta’s moral agony and the illness that consumes her.

The Guardian

Louisa Tee’s performance as Violetta outlines in detail the journey from apparently carefree hedonism via fragile love to painful death, the final scene realised with as much emotional truth as in any production I have seen

Evening Standard

The star of the show is Louisa Tee. She is superb as Violetta, engaging both vocally and dramatically, her full-voiced soprano thrilling in both coloratura cabaletta and mournful aria – ‘Go to Your Daughter’ is particularly moving. She brings a brash confidence to the character of this self-sufficient, high-class courtesan yet displays a convincing vulnerability

Time Out

As Violetta, Tee wows with her vocal acrobatics and trills, which are so powerful they seem to reverberate off the walls of Soho Theatre. Such an impressive voice, coupled with natural flair for conveying the buoyant yet enigmatic nature of Violetta’s contradictory personality, makes for a spellbinding performance.

A Younger Theatre

Louisa Tee has a supple, shimmering voice that easily rides Verdi’s emotional swoops and runs.

The Londonist

La Traviata, Tobacco Theatre, Bristol

…sculpted in fine gold… If it was a joy to listen to her soprano reverberate through the space, light and airy in joy, taking on darker tones in despair, just as impressive was the forensic high definition acting the small space allowed us to glimpse. There was a truthfulness and openness that one rarely finds on the larger stages; a better interpretation won’t be seen at the Met or Opera House for many years to come. One normally watches these small scale shows hoping to find a star for the future. In Louisa Tee we already have one!


Mimi in La Boheme, Kings Head Theatre

Her softly commanding voice gives this girl-next-door a great respectability, despite her bashful body language. Hers is the sort of voice that makes you quite unable to believe your luck that you’re hearing it in the humble surrounds of a pub.

Fringe Opera

Cosi Fan Tutte, Arcola Theatre (Grimeborn)

The casting is excellent: Louisa Tee (Fiordiligi) and Sophie Yelland (Dorabella)’s voices meld into a tapestry of warm sound, and Tee treats the audience to her full soprano strength in her second act aria.

British Theatre Guide

These intimate spaces are certainly unforgiving, but when you do catch a glimpse of genuine human emotion in a voice or on a face, it hits you with intense force. Louisa Tee’s aria Per pietà, ben mio, perdona did just that.

Fringe Opera

Soprano Louisa Tee (playing Fiordiligi) gives a particularly moving performance, especially her aria in Act II (‘Per pietà, ben mio, perdona’- ‘Please, my beloved, forgive’).

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