"….mais c'est l'intervention d'une grandiose intensité d'Anna Larsson dans le chant funèbre de Waldtaube qui restera le très grand moment d'une soirée mémorable."
Le Soir, Martin Serge

Le Soir

"Terrific singing, too, from the seamlessly lyrical Anna Larsson in Nietzsche’s midnight ruminations, and from the Trinity Boys’ Choir and London Symphony Chorus, turning this epic hymn to Nature from impenetrable darkness to radiant light. But enough! Try to catch it on the Radio 3 website."
The Times, Richard Morrison

The Times

"Mezzo-soprano Anna Larsson delivered an enthralling performance in the fourth movement, generating a focused and extremely absorbing depth of tone. This was highly appropriate, as "deep" is a constantly recurring theme in Nietzsche's text."
William Norris, musicOMH.com

musicOMH.com

"Anna Larsson me pareció sencillamente insuperable: todo lo larga que es, todo lo bien que canta con una voz profunda, riquísima de armónicos y de fuelle, y exquisita de fraseo. Igual que los dos coros, que cumplieron mejor que bien con sus respectivos cometidos."
mundoclasico.com, Alfredo López-Vivié Palencia

mundoclasico.com

"Larsson's Angel was outstanding - it is hard to think of another contralto who would have sung it with as much restrained rapture as she did."
The Guardian, Andrew Clements

The Guardian

“Peter Coleman-Wright showed off his voluminous baritone to great effect in his all too brief contributions, but the most poised, reverential and golden-toned singing of the evening came from the Swedish alto, Anna Larsson, as the Angel. Having heard her on disc (an incomparable soloist in Claudio Abbado's superlative recording of Mahler's Second Symphony), I expected her to deliver a memorable performance. However, nothing prepared me for her sublime reading of this glorious role. She looked stunning (she was by far the tallest soloist on the platform) and her singing was moving beyond words. I don't think I've heard a more convincing interpretation of this role since Dame Janet Baker. And praise doesn't come much higher than that.
I haven't found God - but I'm now convinced that The Dream of Gerontius is a masterpiece. Hallelujah!”
Keith McDonnell, musicOMH.com

musicOMH.com

"Anna Larsson (Erda) was crystal-clear in diction and sheer joy to listen to."
Manchester Evening News, Robert Beale

Manchester Evening News

“…Anna Larsson's sumptuous singing, immaculately articulated and wondrously smooth, was a treat in itself.”
The Guardian, Andrew Clements


The Guardian

“The great performance came from Swedish contralto Anna Larsson, sumptuous of voice and communicating throughout both the agony and the ecstasy that were only intermittently present elsewhere. “
The Guardian, Tim Ashley


The Guardian

“Indeed, the four inner movements, framed by thouse vast and powerful pillars at eather end, would hardly have been eventful at all but for the splendid contribution of Anna Larsson, a young Swedish contralto. From her first sounds, the repeated A on “o Mensch”, Ms Larsson, who is also heard on Esa-Pekka Salonen´s recent Sony recording of the work with the Los Angeles Philharmonic, carried a listener back to the not so distant heyday of great Mahler altos like Kathleen Ferrier and Maureen Forrester. “
New York Times, James R Oestreich


New York Times