Diary

 

Reviews/Press

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St Matthew Passion, Soprano soloist with Irish Baroque Orchestra, March 2024

Democracy gave all bar one of the nine main singers doubling chorus a solo or two, and there was more lustre on display, above all from soprano Charlotte O’Hare'

 - David Nice, The Arts Desk

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'Bach and Before' with Resurgam at Cork Choral Festival, May 2021

'the ethereal soprano voices of Aisling Kenny and Charlotte Trepess in Monteverdi's setting of the Song of Solomon would make a cynic believe in angels.'

- Cathy Desmond, Irish Examiner

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Israelite Woman in Handel's 'Esther' With The Irish Baroque Orchestra, April 2019

'Other bit parts alternate with choruses, and each very well sung and characterised...Trepess in particular impresses with her rich, brilliant tone.'

- Golden Plec

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Title Role in Handel's 'Theodora, with the IBO &Sestina, April 2018

'Outstanding in the role of Theodora was Charlotte Trepess: her broad ranging soprano was always richly expressive and beautifully modulated, her performance culminating in the exquisite aria “Oh, that I on wings could rise”.

- The Side Balcony

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Concert with Cantores Olicanae, November 2017

'Dido's Lament was interpreted with beauty of phrasing and plangent tone by soprano Charlotte Trepess'

- Jim Seton, Ilkley Gzette

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Elizabeth Harwood Prize Final, 2017

'Charlotte Trepess, the final contestant opened her programme with the little-known aria ‘Nel Grave Tormento’ from Mozart’s Mitridate, re di Ponte and what a showstopper it was in her sung interpretation...plenty of vocal animus and vitality along with her expressive use of hands to go along with her sung expressiveness. These same qualities were in evidence in the different climate of Schumann’s ‘Lied Der Suleika ‘and then at faster tempo in ‘Diaphenia’. She concluded her impressive contribution indicating, by movement and body language, how she would dominate a stage or concert platform as she sang ‘Je vais le voir’ from Berlioz’s Béatrice et Bénédict in excellent comprehensible French.'

 - Robert J Farr, Seen and Heard International

 

Gabrielle in 'La Vie Parisienne' - Royal Northern College of Music

'One or two triumphs. Charlotte Trepess as Gabrielle...was outstanding, her coluratura and timing making maximum impact'

 - Jonathan Payne, Manchester Confidential

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'I was particularly taken with Gabrielle (Charlotte Trepess) whose voice and slinky, voluptuous nature brought the house down'

 - Robert Hamilton, Northern Soul

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'The star of the evening was Charlotte Trepess as Gabrielle. She has all the makings of a fine coluratura soprano with high notes that pinged deliciously and with a lilt to the phrasing of the vocal line entirely appropriate for French Operetta.'

 - Anthony Ogus

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'Of particular note was the Gabrielle of Charlotte Trepess...whose strength of voice and excellent acting was a highlight'

 - Robert J Farr, Seen and Heard International

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Despina in 'Cosi Fan Tutte' - Royal Northern College of Music

'But it was Charlotte Trepess, the winner of the Cox Award, who carried the singer actor laurels as she manipulated her mistresses’ bosses and so superbly portrayed the doctor who cured the lovers and the lawyer who supervised the supposed marriage of the sisters to the newly arrived visitors from Albania. This was not easy to bring off, nor to sing, but Miss Trepess achieved the portrayal with aplomb to match her smooth and characterful singing.'

 - Robert J Farr, Seen and Heard International

 

'Charlotte Trepess was a crystal-clear and skilfully animated Despina, always clearing up someone’s mess (it seems) as well as singing delightfully from In uomini in soldati onwards.'

 - Robert Beale, Manchester Theatre Awards

 

Frederic Cox Award 2016

'Charlotte Trepess...opened her programme with the allegro from Mozart’s Exsultate, Jubilate which quickly showed her warm soprano as being allied to a rich timbre of colours and good diction. She added poignant expression in her Lorsque vous n’aurez rien a faire from Massenet’s Chérubin. More riches were to follow in her rendition of Betteridge’s Waiting for Friends and in her Lieder when use of her hands and general demeanour were pluses. Her singing of Vorrei spiegavi from Rossini’s first staged opera, the Farsa La cambiale di matrimonio (November 3rd 1810), was an histrionic tour de force.'

 - Robert J Farr, Seen and Heard International

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