Victoria Simmonds

Mezzo Soprano


falstaff at garsington opera 2018

image: Clive Barda

image: Clive Barda

Alice’s accomplice in feminist revenge, Meg Page, is taken with great comedic skill by the mezzo Victoria Simmonds.
— George Smart, Town and Country
Victoria Simmonds’ Meg Page was fittingly uptight, with an undercurrent of mischievousness
— Claire Seymour, Opera Today
Victoria Simmonds’ prim, privately jealous Meg Page works well as a humorous counterpoint.
— Charlotte Valori, Bachtrack

flight at scottish opera 2018

Mezzo-soprano Victoria Simmonds, making her Scottish Opera debut as the Minskwoman, gives an achingly beautiful performance in the aria “I bought this suitcase in New York”, as the character ponders her fears over the changes about to befall her; moving to a new country, motherhood, departing the life she knows.
— Miranda Heggie, The Arts Desk
Victoria Simmonds, who should win some sort of award for the best depiction of a woman giving birth in opera history.
— Richard Morrison, The Times


The strong mezzo-soprano Victoria Simmonds, as Marie (Angel 2), and the hearty tenor Robert Murray as John (Angel 3) give visceral, fleshed-out performances.
— Anthony Thommasini, New York Times
The other angels were strong, particularly Victoria Simmonds who doubled as Marie.
— Andrew Moravcsik, Opera Today

Written on Skin at the Royal Opera House

the narrating Angels – excellently sung by Allan Clayton and Victoria Simmonds
— Erica Jeal, The Guardian
It also draws superb performances from a flawless cast: Christopher Purves (the castellan), Barbara Hannigan (his wife), Bejun Mehta (the artist), and Allan Clayton and Victoria Simmonds as the choric angels, who seem to instigate as well as observe the action.
— Rupert Christiansen, The Telegraph
But the strength of Katie Mitchell’s production lies in the way the dreamlike momentum of the music (conducted by the composer) is bodied forth by its brilliant cast. Tenor Allan Clayton and mezzo Victoria Simmonds double up as minor characters and ‘angels’ who provide a chilling commentary on the behaviour of the protagonists, each of whom comes across with palpitating vividness.
— Michael Church, The Independent
The five singers could hardly be faulted for their contributions. Victoria Simmonds is vividly sensuous as Marie
— Richard Whitehouse, Classical Source
The performers are all superb
— Warwick Thompson, Metro


Victoria Simmonds is extraordinarily moving as heavily pregnant Minskwoman
— Tim Ashley, Guardian
It’s difficult to imagine a more perfect cast....Victoria Simmonds’ warm mezzo impressed as the ‘Minskwoman’
— Mark Pullinger, Bachtrack
Opera Holland Park’s cast is well chosen and always on the ball...and Victoria Simmonds, probing into the anxieties of the Minkswoman, stand out, but all are good.
— Richard Fairman, Financial Times
The cast is so unwaveringly brilliant.
— Edward Bhesania, The Stage
Victoria Simmonds as the so-called Minskwoman (she was intending to fly there) makes the aria in which she reflects on her life and contemplates motherhood highly moving.
— Sam Smith, Music OMH

The Way back home for English National Opera

Enter the fresh-faced Boy, aka that protean singer-actor Victoria Simmonds, now notching up another first in her long list of cross-dressed roles.
— Michael Church, The Independent
Victoria Simmonds gives a game performance in the central role
— Rupert Christiansen, The Telegraph
Simmonds – part Christopher Robin, part annoying Not Now Bernard – is energetic and engaging
— Alexandra Coghlan, The Arts Desk

Through His Teeth by Luke Bedford for the ROH

The performance is first-rate... Anna Devin and Victoria Simmonds doubling as her sister and television interviewer are totally plausible
— Rupert Christiansen, The Telegraph
Can this be the best British opera in years? Drop everything and go
— Anne Ozorio, Opera Today
...and Victoria Simmonds, doubling as A’s interviewer and her cannier sister, comprise the excellent cast
— George Hall, The Guardian
whilst doubling the roles of her sister and TV interviewer, Victoria Simmonds switches between the two personas with skill and dexterity
— Keith McDonnell, What's On Stage
All three singers shine, and sing with fantastic accuracy and diction. Victoria Simmonds is the uncomfortably tactless reporter, and A’s sister, a nervous, worried, and slightly demeaning presence in A’s life, mocking her from the very beginning of her relationship with R, before things start to unravel. Her voice is as powerful and clear at the bottom as it is at the top
— Levi White, Bachtrack

The Barber of Seville for English National Opera

Victoria Simmonds is a voluptuously feisty Rosina
— Tim Ashley, The Guardian
Victoria Simmonds, last seen as an outrageously sexy Cherubino in Steven Stead’s sci-fi Figaro, is an enchanting Rosina, all glittery top-notes, bubbling fioritura, flirty baby-blues and swishy hips.
— Anna Picard, The Independent
…and especially Victoria Simmonds as a beautiful and determined Rosina, are all wonderful, singing with conviction and accuracy and acting as if they were thoroughly enjoying themselves.
— AC Grayling, Online Review

The Marriage of Figaro for English National Opera

Which leads me to perhaps the star of this show, Cherubino. Victoria Simmonds is absolutely charming (and totally believable) as the petulant teenager, both acting and singing superbly.
— Helen Wright, Music OMH
As teenage sweethearts Cherubino and Barbarina, Victoria Simmonds and Claire Ormshaw excel. Simmonds is quite the sexiest Cherubino I’ve seen.
— Anna Picard, The Independent
here’s a plucky, sexy, scene-stealing Cherubino from Victoria Simmonds.
— Edward Seckerson, The Independent

Cunning Little Vixen for Garsington

Victoria Simmonds is a delightful mustachioed Fox
— Stephen Pritchard, The Observer
The key encounters benefit from three outstanding singers...Victoria Simmonds makes a superbly debonair Fox
— The Independent
Victoria Simmonds captures the burgeoning romance between them touchingly
— Richard Fairman, Financial Times


the superb Victoria Simmonds was Idamante
— Michael Kennedy, Opera

The Adventures of Pinocchio for Opera North

The opera is unimaginable without Victoria Simmonds in the title role... Simmonds is funny, touching and utterly compelling
— Tim Ashley, The Guardian
wonderfully played and sung by Victoria Simmonds
— Hugh Canning, The Sunday Times
Victoria Simmonds is Pinocchio, complete with superbly sculptured kneecaps and elbows and a glorious, growing nose. She is outstanding.
— Kevin Berry, The Stage
the superb Victoria Simmonds
— Richard Morrison, The Times
Victoria Simmonds’s supremely winning Pinocchio
— Alfred Hickling, The Guardian

Le Comte Ory for Garsington Opera

and above all, as the enamoured page who gets the gal, the dizzyingly beautiful mezzo Victoria Simmonds, whose every note suffused the Oxfordshire evening air with a scrumptious warm glow
— Roderick Dunnett, The Independent
The finest singing comes from the Cherubino-style page of Victoria Simmonds
— Anthony Holden, The Observer
Victoria Simmonds was a real find as Isolier, a convincing young man as well as a fine Rossinian voice.
— Brian Hick, The Organ
Victoria Simmonds brings sophisticated, almost understated, dramatic coherence to the role of Isolier, as well as ample vocal flexibility.
— Edward Bhesania, The Stage