Alice Trapeze Artist in Circus Tricks. Tête à Tête Productions, London.
“Yvette Bonner takes flight and soars vocally in her aptly stratospheric role as the enthusiastic Trapeze Artist.”
The Stage
“What pleasures there are come, thanks to the performers, all of whom sing and move with infectious conviction;
A trapeze artist (soprano Yvette Bonner) who moves like the most exquisite Degas dancer.”
The Independent
The Opera Singer in Too Hot To Handel/Armonico Consort.
“The singing duo was a delight; William Towers and Yvette Bonner, who was freed from little–girl roles to flower as a sophisticated, gorgeously full–bodied engaging soprano.”
Opera Magazine

“Bonner and Towers steal the stage, combatting each other in relationship and in pitch. The extraordinary stamina each of them has, within their movement on stage, incorporated alongside pitch–perfect full–blown operatic voices, is very accomplished.”
The Upcoming
The Pink Fairy in Magical Night. Royal Opera.
“Soprano Yvette Bonner is a downright Pink Fairy, singing crisply, with movement skills to keep up with a whole cast of dancers. As the children stir in their sleep, she orders the other toys into stillness with an imperious, imploring look.”
The Independent
Vixen in The Cunning Little Vixen. Aix–en–Provence Festival.
“Yvette Bonner first sang Yniold in Pelleas and Flora in Le Tour d’Ecrou. Even though these roles were small, she went on to be Zerlina of a Don Giovanni directed by Colin Davis. And here she is in the Aix–en–Provence Festival, the cunning Vixen in Janacek’s Opera. In a production by Julie Brochen, she was the revelation of that year. Impish and sensual at the same time, unbearably sad and unbearably sweet, Yvette Bonner drowned us in happiness. Her voice of great levity, sometimes soared and then swooped down, overwhelming the males, all the males, animal and human who pestered her in an excess of love and spite. But in her duo with Petra Simkova, who sang her Fox, she was transformed suddenly into one of the most beautiful lovers of our dreams…”
Pierre–Jean Remy de l’Acacdemie Francaise. Dictionnaire amoureux de l'Opera
Britten's Les Illuminations. Academy of St Martin–in–the–Fields, Wigmore Hall (début).
“YVETTE BONNER! She may only be the size of a sparrow but this young English songbird had the whole Wigmore Hall audience mesmerised by the sound bursting out of her ribcage. Not only the audience, but the Academy of St Martin–in–the–Fields as well, who seemed so excited by her imminent arrival on stage that they raced through the first piece on the programme, Prokofiev’s Visions Fugitives, like adolescents on a first date. By the time Bonner took to the stage, glowing in a pure white dress, the air was thick with the musk of our inflamed senses. Now the atmosphere turned positively erotic and the singer launched into Britten’s song cycle Les Illuminations. Bonner glared at the audience with youthful arrogance and then simply sang her heart out, letting that exquisite soprano voice fly at us and seduce us. It circled, swooped, dived, soared higher and higher and then landed triumphantly on waves of the most beautifully natural vibrato, carried all the way by string–playing of astonishing physicality. The Academy seemed literally to lift their young bride on their shoulders, such was the strength of their playing … Classical music could not sound much more alive than this…”
The Times *****
Carmina Burana. Oxford Philomusica, Sheldonian Theatre.
“Soprano Yvette Bonner contributed a lovely Silvery tone that floated effortlessly into the rafters. Her solos were among the highlights of the evening…”
Oxford Times
Dvorak's Stabat Mater. Dundee Choral Union.
“…Yvette Bonner sang serenely and with conviction.”
Dundee Courier
Phillipa in Babettes Feast. Linbury studio, Royal Opera House.
“Yvette Bonner, in particular, shines gorgeously as the daughter with the hidden voice.”
The Times
Vixen in The Cunning Little Vixen. Académie européene de musique.
“Yvette Bonner is more than a charming Cunning Little Vixen. She sings with a full and stirring voice.”
La Canard Enchaine

“…a Vixen brimming with vitality, her voice easy and valiant and full of youthful charm.”
Les Echos

“The Academy has already got the makings of a star. Yvette Bonner is a Vixen as cunning as she is vocally and dramatically luminous.”
France Bleu Provence

“The cast is excellent throughout with Yvette Bonner a moving and irrepressible Vixen…”

“…the soprano Yvette Bonner is a spell–binding blonde Vixen.”

“…the freshness of the voices and the perfection of the expression, especially of Yvette Bonner, who acted in the title role with playful innocence and mischievous cunning.”
Neue Zürcher Zeitung
Tina in Flight. Flanders Opera.
“…Yvette Bonner is a piquant Tina with a fresh soprano.”
La Voix du Luxembourg

“John McVeigh and Yvette Bonner portrayed convincingly the young couple’s fraught and stressed relationship, studying a sex manual, their spiky tension covered by bubbling exteriors…”
S & H Opera Review

“The excellent Christine Rice and Yvette Bonner…”
Le Soir
Alice in Alice in Wonderland. Netherlands Opera.
“…Yvette Bonner, a touching Alice.”
Financial Times
Esmeralda in The Bartered Bride. Royal Opera.
“In smaller roles Alan Opie, Diana Montague, Yvonne Howard and Yvette Bonner…what a role call! turned in vivid vignettes…”
The Sunday Times

“…Yvette Bonner a bright Esmeralda.”
Semele in Die Liebe der Danae. Garsington Opera.
“The four queens, led by Yvette Bonner’s Semele, are perfectly cast…”
Financial Times

“Jupiter’s four discarded loves, Semele, Europa, Alkmene and Leda (Yvette Bonner, Lucy Schaufer, Clarissa Meek and Rebecca de Pont Davies) were delicious in all respects…”
Sunday Telegraph
First Maid in Die Aegyptishe Helena. Garsington Opera.
“Both servants Yvette Bonner and Helen Astrid distinguished themselves…”
The Times
The Boy in Master Peter’s Puppet Show. BBC Proms.
“Soprano Yvette Bonner sang the narrative role of The Boy with apt innocence”
Evening Standard

“The excellent Birmingham Contemporary Music Group, conducted by Alexander Briger, gave an exhilarating performance of Falla’s Master Peter’s Puppet Show, with three fine young singers: Yvette Bonner as The Boy, Timothy Robinson as Master Peter and Jonathan Lemalu as Don Quixote.”
The Times
Emmie in Albert Herring. City of London Sinfonia.
“Soprano Yvette Bonner’s Emmie is definitely the star pupil.”
The Times
Emmie in Albert Herring. Garsington Opera.
“Yvette Bonner…triumphed in the role of Emmie…”

“Yvette Bonner’s Emmie is extremely striking.”
Evening Standard
Flora in The Turn of the Screw. Welsh National Opera.
“As Flora, the most problematical role of all, Yvette Bonner managed to suggest that she was only 13, but sang with the maturity the role requires. In the lake scene she suggested, through her uncanny stillness, that she was under some sort of spell and that she had an unholy alliance with Miles…”

“Yvette Bonner as Flora was something special, with a gloriously strong and pure lower range.”
Daily Info
Yniold in Pelléas and Mélisande. English National Opera.
“…Yvette Bonner, an uncommonly good Yniold.”
The Sunday Times
Barbarina in The Marriage of Figaro. Savoy Opera.
“Yvette Bonner a sexy, knowing Barbarina.”
The Sunday Times

Agent Enquiries
Helen Sykes Artist Management
100 Felsham Road
London SW15 1DQ
Tel: +44 (0)20 8780 0060
Fax: +44 (0)20 8780 8772