Don Giovanni

Don Giovanni (Donna Anna)

English Touring Opera, May 2016

“…as Anna and Ottavio Gillian Ramm and Robyn Lyn Evans provided the show’s heart: Ramm was both poignant and proud.”

Richard Bratby, Birmingham Post

“Gillian Ramm’s Donna Anna may be small in stature but she’s a powerhouse of emotion…”

William Stafford, Bum on a Seat 

La Clemenza di Tito

La Clemenza di Tito, Classical Opera

Cadogan Hall – March 2014

“Much of this devolved on to Gillian Ramm’s Vitellia, the scheming princess dumped by the Roman emperor Tito, who manipulates lovelorn Sesto into doing her dirty work by setting Rome on fire and assassinating the monarch. Her plan for revenge fails, she repents and all is forgiveness. Initially Ramm’s wrath veered towards Queen of the Night caricature, and she rather overplayed her voice’s astringent penetration, but she grew into this central role to be very powerful in the challenges of the Act One trio, in which, reinstated as Tito’s bride-to-be, she realises she is too late to abort Sesto’s treasonous mission. The sheer drama of the trio set up a brilliantly effective Act One finale – top-notch Mozart, with fiery singing from the chorus and a psychologically astute, opaque close – and Ramm clinched her incisive portrayal in Vitellia’s moral wrestling-match in her Act Two scena.”

Peter Reed, Classical Source

“Creating most of the drama single-handed was Gillian Ramm as a gloriously vindictive Vitellia. Ramm was in fabulous voice, singing with bristling characterization and a tangible hunger for power which gave her performance real bite. The emotional heart of the whole opera, meanwhile, came from Helen Sherman as Sesto. Her deeply affecting portrayal of the anguished, obsessed traitor was a tour de force, and her stage presence was magnetic as she was torn between her passion for Vitellia and her friendship for Tito.”

Charlotte Valori, Bachtrack

Ottone in Villa

Ottone in Villa (Cleonilla), La Serenissima, Buxton Festival, July 2013

Gillian Ramm delivers histrionically as the bitchy Cleonilla, too (the mistress), with even and well-sustained tone in a demanding role.
Robert Beale, Manchester Theatre Awards

Così fan tutte

Così fan tutte (Fiordiligi), Salzburg

Salzburger Landestheater (January 2013)

Gillian Ramm reaches intense emotional depth and her voice wonderfully amalgamates with that of Dorabella, both of whose strengths are in the lyric.
Reinhard Kriechbaum, Wiener Zeitung

[Ramm’s] great Rondo showed an interesting, beautifully focused, floating, lyrical soprano.
Karl Harb, Salzburger Nachtrichten

Aci, Galatea e Polifemo

Aci, Galatea e Polifemo (Aci) Goettingen International Handel Festival, May 2012

Gillian Ramm (another of Western Australia’s gift to the vocal world) was an entertainingly diminutive Aci in white tie and tails, singing with rich tone, excellent flexibility and nicely judged use of vibrato.

Sandra Bowdler, Opera Britannia

Rodelinda

Rodelinda, Early Opera Company, 2011

Gillian Ramm’s Rodelinda verged on the unhinged, so that her son Flavio…was not only witness to the violence of the tormentors but became a pawn in his mother’s knife-crazed desperation. The casting was uniformly strong: Ramm’s Rodelinda and James Laing’s Bertarido made a noble pair.
Rian Evans, Opera

Vitellia with the English Touring Opera

Vitellia, La Clemenza di Tito, English Touring Opera, March 2011
“Gillian Ramm…was fearless at the top and moving in her moment of truth and remorse, the great rondo with basset clarinet solo, Non più di fiori.”
Hugh Canning, Opera

“Gillian Ramm [is a] strongly focused Vitellia…the sobriety of the shamed Vitellia’s Non più di fiori (No bridalgarlands), with rose petals drifting out of her packed linen, is superbly done.”
Hilary Finch,The Times

“Ramm has a voice which has previously been likened to double cream and she did not disappoint vocally in what is a new role for her. She has a great richness of tone in her lower register and yet hits all her high notes perfectly on pitch and with relative ease”, “a confident musician”, “Ramm’s scene where she decides to admit to Tito she is the author of the assassination plot was poignant” – Miranda Jackson, Opera Britannia

“Gillian Ramm kicked the thing off well as the dreadful Vitellia, quickly establishing the character”
Robert Thicknesse, Opera Now

“Ramm’s soprano firing bold top-note volleys that match her would-be trophy wife attitude and power-dressing”
George Hall, The Guardian

“…the relationship between Julia Riley’s Sesto and Gillian Ramm’s Vitellia becomes unusually convincing. Both sing their big arias with vibrant confidence and gusto.”
Rupert Christenson, The Telegraph

“Gillian Ramm’s Vitellia is coolly fierce, controlling Sesto more with a fiery temper than by feminine wiles. She makes an immediate and lasting impression vocally…”
Edward Bhesania, The Stage

Rodelinda at the Iford Festival

Rodelinda, Rodelinda, Iford Festival, August 2011

Here, from the very first notes of Rodelinda’s lament for her lost husband, it is immediately obvious that soprano Gillian Ramm is the real deal as a Handelian heroine. Her voice is warm, well-projected and secure of technique with a sumptuous gleaming top that she uses with musicality and confidence. As the evening progressed she showed some lovely colours in the slow airs and nicely appropriate ornamentation — her “Return, my dearest love” was intelligently phrased and limpidly sung…

Sue Loder, Opera Today

A Midsummer Night’s Dream

Tytania, A Midsummer Night’s Dream, English Touring Opera, March 2010

‘…the diamond strength of Gillian Ramm’s excellent Tytania.’
Hilary Finch, The Times, A Midsummer Night’s Dream, English Touring Opera, 2010

As his wife, Gillian Ramm proved fully equal to the demands of Tytania’s fiendishly high register. Like Oberon, she was dressed fantastically, her unusual long dress elaborate and sparkling in the artificial moonlight. Ms. Ramm’s voice was ravishing …. Even at the gleaming top notes of her range, she sang with strength and security.’ 
John E.De Wald, Opera Britannia

‘As the fairy queen, Gillian Ramm’s bright voice shone, matching the shimmers of her silvery gown. The brilliance of her upper range pierced like a moon beam through the night sky, and it was no wonder that the beauty of her chain of falling thirds, ‘Oh how I love thee’, won the ass-headed Bottom’s heart.’ 
Claire Seymour, Opera Today

‘…Gillian Ramm’s Tytania gleams and glistens in a vocally strong interpretation’ 
George Hall, The Stage

…Gillian Ramm was in full and splendid voice as Tytania.   She brought a sense of danger to the role, made her striking presence felt and soared above the orchestra in all those crucial places where Britten gives his queen of the fairies her head…..  this was a fine singing and acting performance by Ramm, who showed once again that she is a considerable stage creature. 
Mike Reynolds, Musical Criticism.com

Cosí fan Tutte

Fiordiligi, Cosí fan Tutte, Glyndebourne on Tour, October 2009

“Gillian Ramm’s rapturous Fiordiligi” 
Tim Ashley, The Guardian, Cosí fan Tutte, Glyndebourne on Tour, 2009

“Gillian Ramm’s intensely thoughtful Fiordiligi …[is] gripping to watch. Ramm is as deeply into the role as any Fiordiligi I have seen on this stage.
Hilary Finch, The Times

“Gillian Ramm is a fine Fiordiligi” 
John Allison, Opera

“Soprano Gillian Ramm was a clear, bell-like and enchantingly direct Fiordiligi.” 
Susan King, Mid Sussex Times

Fra Diavolo

Zerline, Fra Diavolo (Auber), Stanley Hall Opera, June 2009

“As Zerline, the ‘workhorse’ of the piece, Gillian Ramm proved to be much more than the conventional soubrette who sometimes plays this role: she has warm tone, clear diction and coped with the range with ease, singing powerfully and well within herself.” 
MusicalCriticism.com, Fra Diavolo (Auber), Stanley Hall Opera, 2009

Haydn opera excerpts

Haydn opera excerpts, Classical Opera Company, March 2009

“…the voice of Gillian Ramm is in another class. She, too, has mastered the controlled expressivity of 18th century opera, but with a supported and projecting voice that lends real presence….. the glassy clarity creates a timbral focus for the otherwise rounded sounds of the period instrument ensemble, a perfect combination.”
The Opera Critic, Haydn opera excerpts, Classical Opera Company, 2009

Così fan tutte

Fiordiligi, Così fan tutte, Glyndebourne Festival, 2007

“… a tremendous debut, showing herself perfectly at ease amid the rigours of her two great arias….We are bound to hear more of this excellent musician.” 
Opera Magazine, Così fan tutte, Glyndebourne Festival, 2007

La Cenerentola

Clorinda, La Cenerentola, RNCM, March 2005

“But if you have a soprano as good as Gillian Ramm, who can bring it off with such élan, why not?” 
Sunday Telegraph, La Cenerentola, RNCM, 2005

The Rake’s Progress

Anne Truelove, The Rake’s Progress, RNCM, 2004

“Gillian Ramm has a voice of pure double cream, which she projected impressively while acting with poise and pathos.”
The Times, The Rake’s Progress, RNCM, 2004

Aci, Galatea e Polifemo

Aci, Handel: Aci, Galatea e Polifemo, London Handel Festival, April 2004

“Soprano Gillian Ramm ….showed intensity and ardour as Acis…” 
Theatre Review, Aci, Galatea e Polifemo, London Handel Festival, 2004