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Sarah Minns is a singer of real promise.The Times

La voix humaine is a taut psycho drama demanding above average acting skills, and the stamina to hold intensity without respite for over an hour. Not many singers can pull it off well,  but Sarah Minns almost certainly can. She’s an exceptionally good actress, as well as singer, and has made a speciality of operatic one-handers, including two UK premieres: Katarzyna Brochocka’s The Young Wife and even better still, Manfred Trojahn’s Rilke song cycle, Insomnia, about Lou Andreas-Salomé, the mysterious woman who captivated Nietzsche, Freud, Rilke and Paul Rée.  Trojahn’s piece is fairly well known in Germany, though not in Britain….Minns didn’t just steal the show: she “was” the show, creating Andreas-Salomé’s mysterious, compelling personality to perfection.  On stage, she “became” the part so convincingly that it was a shock to see her later without costume and makeup, chatting happily like a normal person.  Art and reality!Classical Iconoclast

Minns’s beautifully-sung Susanna directed the comedy with a sure hand.Peter Reed, Opera

Flamboyance arrived in the form of Musetta, Marcello’s occasional girlfriend, played by Sarah Minns. Dazzling in red, Minns sang in her distinctive soprano whilst clambering on chairs, cackling heartily and perching on the knee of an unsuspecting audience member. And all in formidable heels. It was fun and chaotic, and it’s not every day an opera singer performs a nineteenth-century score inches from your glass of house white.The London Magazine

As Brochocka’s disillusioned Young Wife, Sarah Minns looked elegant and sounded perfectly composed while her world fell apart around her.Opera Magazine

Sarah Minns’ concentrated vocalism is striking and equally dramatically effective.The Guardian

Young Wife is impressive. It’s a continuous monologue from a woman (played by Sarah Minns) disappointed with married life. A Madame Bovary-esque sense of disenchantment bristles through her arias – at times sharp and aggressive, at others soothing and contemplative. It’s an unforgiving role for soprano, and Minns enthralls. If she finds the part a challenge, she doesn’t let us in on the secret.Fringe Opera

Minns portrayed the transformation from dependent, baffled insecurity to this self-confident autonomous outcome with great skill, managing to meld impressive acting and elegant physical agility with assured singing of a technically taxing score.Classical Iconoclast

Sarah Minns as Dido conveyed her gravitas and depth of her reined-in passion most effectively…What we heard was not mere elegiac beauty but heartfelt grief.Opera Now

Sarah Minns was a revelation.Mid Somerset Newspaper