2016

“Ruby Hughes’s ‘Nocturnal Variations’ presents a moody, exquisitely realized program. Hughes’s voice is ravishing, her interpretations wonderfully fresh and there’s a real sense of give and take between herself and Middleton. Her ‘Im Abendrot is rapt and introverted….Berg’s Gesenge in which tonality gradually collapses, are genuenly disturbing, and there’s an exceptional performance of Um Mitternacht in which Hughes’s dynamic control, from the whispered opening to the blaze and glory at the close, is breathtaking.”

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Gramophone Magazine

“The atmospheric impact was extremely touching, in particular when Ruby Hughes, personifying Night, pulled a white sheet over the chorus snuggled up to each other, using torches,blinking like earthworms in the dark.”

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Frankfurter Allgemeine Jan Brachmann

Purcell The Fairy Queen

Akademie für Alte Musik Berlin, RIAS Kammerchor

Rinaldo Alessandrini conductor

Berliner Philharmonie

“Wonderful insights were to be had with Maestro Alessandrini who is one of the most inspiring interpreters of early music today. His soloists are of an equally high standard; Ruby Hughes and Lawrence Zazzo being part of the ensemble.”

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Berliner Zeitung, Peter Uelig

Purcell The Fairy Queen

Akademie für Alte Musik Berlin, RIAS Kammerchor

Rinaldo Alessandrini conductor

Berliner Philharmonie

“Next to that we experienced some extremely internal moments, which belonged entirely to the music. Songs such as the enchanting “If Love's a Sweet Passion, why does it torment?“, and the grandiose “O let me weep“, were sung with utmost expression by soprano soloist Ruby Hughes.”

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Der Tagesspiegel

Purcell The Fairy Queen

Akademie für Alte Musik Berlin, RIAS Kammerchor

Rinaldo Alessandrini conductor

Berliner Philharmonie

“Great praise is due to all the soloists, who sing several parts, in particular, however to Ruby Hughes, who appears first as an attractive Titania in a long, bright red coat. Her beautiful, clear soprano voice radiates through the hall and almost moves the audience to tears in the 5th act as the role of the black-clothed, lamenting, weeping Laura. For me, this was the vocal climax of the performance.”

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Kulturradio vom RBB (Rundfunk Berlin-Brandenburg)

Purcell The Fairy Queen

Akademie für Alte Musik Berlin, RIAS Kammerchor

Rinaldo Alessandrini conductor

Berliner Philharmonie

“Outstanding here was soprano Ruby Hughes, who shaped with moving intensity the great lamentation aria 'O let me weep'.”

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Neue Merkur Wien. Ursula Wiegand

Purcell The Fairy Queen

Akademie für Alte Musik Berlin, RIAS Kammerchor

Rinaldo Alessandrini conductor

Berliner Philharmonie

“The soprano soloist for the finale, Ruby Hughes, has the pure, youthful sound it was surely meant for... the gentle blend of voice and orchestra was near-perfect at the end.”

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Manchester Evening News. Robert Beale

Mahler Symphony no. 4

BBC Philharmonic Orchestra

Jésus López Cobos conductor

“Here, suddenly was a burst of sunlight, with thundering timpani and blazing brass heralding Ruby Hughes’ Himmlische Leben. Her singing was beautiful in timbre and impressive in characterization of the text… a fitting end to an excellent evening.”

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Bachtrack. Rohan Shotton

Mahler Symphony no. 4

BBC Phiharmonic Orchestra

Jésus López Cobos conductor

“The second half was devoted to Samuels’ Clytemnestra, a rich, substantial piece from a composer plainly at ease with both her material and her own voice. Hughes sang beautifully; by turn, chilling and heartrending in short, poetic imagery and longer melismatic lines.”

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Steph Power. Wales Arts Review

Rhian Samuel Clytemnestra

BBC National Orchestra of Wales

Tecwyn Evans conductor

“In Remember, the highly evocative cycle of four songs for soprano and orchestra – sung by Ruby Hughes and conceived for her – the second setting, Thomas Hardy’s poem Shut Out That Moon, Hughes’s expressivity together with Watkins’s authoritative writing for strings conveyed huge emotional intensity.”

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Rian Evans. The Guardian

Huw Watkins, Composer portrait. Remember

BBC National Orchestra of Wales

Gary Walker conductor

“...the singers steer a convincing stylistic course, balancing the sometimes contradictory demands of the source material and the arrangement...the expressivity of Hughes and Rose's No resistance is but vain is impressive and Middleton's playing is precisely coloured and characterised”

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Anna Picard. BBC Music Magazine 4*

Purcell Songs Realised by Britten, Champs Hill records

“What riches and pleasures this two disc set contains....and a superb set of young singers offers ideal freshness and variety of timbre and color. Highlights include 'The Blessed Virgins Exspostulation' and 'O Solitude' interpreted with exquisite chaste purity by soprano Ruby Hughes.”

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The Telegraph, Rupert Christiansen 5*

Purcell Songs Realised by Britten, Champs Hill records

“Soprano Ruby Hughes moves effortlessly from Schubert’s Nachtstucke to Mahler’s Urlicht and then the sound worlds we’ve just heard (Berg Warm die Lufte & Britten Evening from This way to the tomb), finding moments of heart-stopping beauty as she explores these Nocturnal Variations with pianist Joseph Middleton, who is sensitive to every shift in colour and timbre. I found this a captivating recital.”

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Record Review. BBC Radio 3, Andrew McGregor

Nocturnal Variations debut recital disc, Champs Hill records

“Well, there’s no question, first of all, that we have two major talents here. Ruby Hughes has an exceptionally flexible high soprano voice; she can move from an almost toneless sotto voce through to a rich, full sound in the twinkling of an eye. And that hints at her approach to these wonderful songs; she is a natural story- teller, and is always on the look-out for color and drama. Her accompanist, Joseph Middleton, is a fine musician, technically secure, and fully responsive to Hughes’s, and the composers’, poetic visions... The Britten group calls for a special kind of intimacy, an almost dream-like quality, and Hughes is able to deliver that perfectly. Her relatively small vibrato makes it possible to hear the true shape of the melodic phrases...Warm die Lüfte (Berg), in particular, is an extraordinary song, with moments of expressionistic ‘Sprechgesang’. Hughes projects this superbly, always preserving beauty of tone despite the harrowing emotions... The five Schubert songs make fascinating listening...the duo capture the strange ambiguous emotions perfectly... this disc is very special... something to relish, and a great achievement.”

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MusicWeb International. Gwyn Parry Jones

Nocturnal Variations debut recital disc, Champs Hill records

“Her singing is exceptional for its consistency. Though her tone is light and delicate, it’s invariably true in pitch and capable of a surprising range of dynamic variety – a perfect instrument of its kind. Every word she sings comes through clearly. Joseph Middleton’s neat and purposeful accompaniments are major assets, and just as Hughes’ singing offers an object lesson in how to bring words and notes together, she and her pianist collaborate as a duo of equals. Made in Champs Hill, the recording is close but also sensitive and revealin...In Mahler’s ‘Wo die schönen Trompeten blasen’, ‘Um Mitternacht’ and ‘Urlicht’, Hughes combines a sense of intimacy with a grandeur of conception...The evocative ambiguities of Berg’s infrequently heard Four Songs Op. 2 are imaginatively explored, while the four unusual items by Britten, including the Goethe setting, ‘Um Mitternacht’, prove well worth encountering”

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Performance: 5 stars, Recording: 5 stars, George Hall, BBC Music Magazine

Nocturnal Variations debut recital disc, Champs Hill records

Nocturnal Variations is cd of the month in its category in the BBC Music Magazine June edition

2015

“The four soloists seem to really hit their mark, in particular soprano Ruby Hughes who's voice has a spine tingling clarity.”

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Manchester Evening News

Mozart Requiem, BBC Philharmonic Orchestra. Manchester International Festival.

“Ruby Hughes is a delight, with a pure lyric transparency for the often folksty simplicity of young Richard Strauss.”

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BBC Music Magazine, David Nice

R. Strauss songs volume 7, Roger Vignoles, Hyperion records

“It's lovely to hear these young voices in this repertoire. I particularly enjoyed the clarity and expressivity of Ruby Hughes singing on this disc. Particularly with the youthful songs there's a simplicity to her delivery which I think shows the songs at their best.”

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Natasha Loges. Building a library on BBC Radio 3.

R. Strauss songs volume 7, Roger Vignoles piano, Hyperion records

“Hughes stayed absolutely on pitch. She also showed in lower-lying music (like Mahler’s “Um Mitternacht”, whatever its suitability to her basic voice type) that she possesses solid middle and lower registers. Aided greatly by the reliably secure and incisive Julius Drake — who made Schubert’s most difficult postludes sound effortless — she phrased with care and taste... The vocalization was beautiful... Hughes deployed the melismas of Ravel’s quasi-vocalise lines with immense skill and precision, while summoning up considerable feeling.”

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Opera News, David Shengold

Solo recital at the Frick Collection New York with Julius Drake piano

2014

“The soprano in Vivaldi's aria from the opera Giustino, in his Motet Salve Regina and Hasse's Alma Redepmtoris is soloist Ruby Hughes. This singer of Welsh heritage combines great style, security, virtuosity and taste. It is no wonder she was selected unanimously to be on the New Generation Artist scheme at the BBC.”

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5* in Klassik heute magazine, Detmar Huting

Venetian Christmas, Arte Suonatori, released on BIS records

“Vivaldi's Salve Regina and Hasse's Alma redemptoris Mater explore Marian themes in alluring performances, vibrantly delivered by Ruby Hughes soprano.”

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5 * in the BBC Music Magazine

Venetian Christmas, Arte Suonatori, released on BIS records

“Ruby Hughes is a fantastic soprano who communicates wonderfully with the sound of the orchestra as well as the rarely heard psaltery... her voice fits perfectly into the sound structure and concept, blending marvelously with the baroque violins...varying a tasteful vibrato with straight tone in an ideal way; stylistically and vocally sublime...”

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Bernhard Morbach. Kulturradio.

Venetian Christmas, Arte dei Suonatori. BIS records.

“...an inspiring performance of Duruflé’s Requiem, with the soprano Ruby Hughes exquisitely poised and passionate in "Pie Jesu".”

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The Telegraph. Geoffrey Norris.

BBC Proms 2014. The Royal Albert Hall

Duruflé Requiem. BBC National Orchestra of Wales.

“Soprano Ruby Hughes was fully on-board with the Requiem’s understated beauty in the delicate Pie Jesu. Though her magnetic stage and presence and exquisite voice put all attention onto her, it did not necessarily make the performance all about her. Hughes had a way of singing that felt as though she was singing to you personally. In her prayer for the dead, she found the balance between both the personal and universal.”

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Bachtrack. Hazel Rowland

BBC Proms 2014. The Royal Albert Hall

Duruflé Requiem. BBC National Orchestra of Wales.

“Gerald Finley and elegant young Welsh soprano, Ruby Hughes both made crucial contributions, with Finley’s finely intoned enunciation of the ‘Domine Jesu Christe’ and Hughes’ plaintive yearning in the ‘Pie Jesu’ reaching out to the audience in a performance that in its finest moments, cast a powerful emotional spell.”

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Seen and heard international. Christopher Thomas

BBC Proms 2014. The Royal Albert Hall

Duruflé Requiem, BBC National Orchestra of Wales

“...Hughes got to the heart of everything with unfailing potency and point.”

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The Irish Times. Michael Dervan

Monteverdi arias and duets, Concerto Copenhagen

West Cork Chamber music festival.

“The soprano Ruby Hughes is a new star in opera heaven - a graceful beauty with a warm, soft voice. She performed supreme interpretations of two dramatic cantatas by Strozzi with lyrical timbre... Ruby Hughes gives soul to Dido's words: Remember me but forget my fate. The dancers surround her with breezy fingers.”

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SWD Gunilla Jensen

'Heroines' Choreography by Kenneth Kvanstrøm

“...beautifully nuanced Schubert interpretations with a warm tibre by Ruby Hughes accompanied by Simon Crawford Phillips. Night songs included Abendstern and Romance aus Rosamunde.”

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Svenska Dagbladet

'Evening star' at Berwaldhallen, Stockholm. Stockholm Syndrome ensemble

“Hughes makes her mark through the intensity of the shaping, blazing allure and great phrasing.”

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Opernwelt. Boris Kehrmann

Handel/Telemann Otto. Le Concert Lorraine. Magdeburg

“Ruby Hughes created this revengeful woman plagued by thoughts of retribution and vengeance with great intensity.”

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Opernglas. J. Gahre

Handel/Telemann Otto. Le Concert Lorraine. Magdeburg

“Ruby Hughes soared highly, a proto-Strauss soprano in her generous solos”

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The arts desk. David Nice

Rossini Petite Messe Solonelle

BBC Singers. Milton Court, London

2013

“...with the fine soprano Ruby Hughes capturing the devout Polish timbre of the texts and singing from the heart in the three songs of sorrow that make up the symphony, this was a rapt occasion.”

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The Guardian. **** Martin Kettle.

BBC Proms The Royal Albert Hall

Gorecki Symphony of Sorrows. BBC Symphony Orchestra

“Wisely Ruby Hughes resisted the temptation to over emote, shaping Gorecki's doleful lines with radient elegance.”

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The Evening Standard. **** Nick Kimberly.

BBC Proms  The Royal Albert Hall

Gorecki Symphony of Sorrows. BBC Symphony Orchestra

“...Vanska was aided by superb performances by the BBC Symphony Orchestra and from soprano Ruby Hughes, who gave its three laments a searing immediacy.”

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The Independent. **** Michael Church.

BBC Proms The Royal Albert Hall

Gorecki Symphony of Sorrows. BBC Symphony Orchestra

“What can never be guaranteed, despite the Proms' lavish budget is really inspirational performance. On that level some of the smaller scale events linger in my mind as much as the Mahler or Bruckner blockbusters. If I had to name one, it would be tenor James Gilchrist, perfectly blended with soprano Ruby Hughes in Benjamin Britten's Abraham and Issac, both floating effortlessly over the luminous piano sound of Imogen Cooper. Its a tough call for two merely human singers to impersonate the Voice of God, but these two managed it.”

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The Telegraph. Ivan Hewitt

BBC Proms Cadogan Hall

'Britten up close' with James Gilchrist and Imogen Cooper

“Hughes offered gentle curves and dramas in A charm of lullabies. She bought great clarity and projection and a clear sense of the individual nature of each song, including a delightful rendering, complete with Scottish burr, in the Highland Balou by Burns. The dramatic climax of the concert came in the intense and tragic Canticle II Abraham and Issac. Sung by Hughes and Gilchrist, an Issac and Abraham respectively, who's voices combined in the voice of God with an etheriel richness, this was a highly dramatic and poignant rendering of the story...”

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Bachtrack. Frances Wilson

BBC Proms Cadogan Hall 

'Britten up close' with James Gilchrist and Imogen Cooper

“The singers were outstanding: the soprano Ruby Hughes sung flawlessly with a tender light and shining timbre.”

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Schwaebisches Tagesblatt

Purcell's The Indian Queen. Le concert Spiritual

Schwetzingen Festival, Germany

“The next morning Ruby Hughes and Julius Drake gave a bright account of a program by Haydn, Brahms and Schumann. Hughes's big vibrato free sound was ideally matched to the English canzonettas by Haydn to which Jane Austin herself had probably once listened, and in Schumann's 'Liederkreis' Hughes and her excellent accompanist bought this doom-laden world to passionate life...she caught the music's spirit perfectly.”

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The Independent. Michael Church

With Julius Drake, Wigmore Hall recital debut.

Queens hall Edinburgh

“...the singing was superb: Soprano Ruby Hughes was bold, husky, full of rough edged seduction”

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The Guardian. Kate Molleson 5*

The Dunedin Consort

Queens Hall Edinburgh

“The closing serenely angular polyphony with the plainchant line sung by Ruby Hughes was remarkably beautiful.”

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The Telegraph. Ivan Hewett.

Queen Elizabeth Hall, BBC Concert Orchestra

Peter Maxwell Davies's The Devils

“Then Ruby Hughes sang two excerpts from Peter Maxwell Davies's score for Ken Russels 'the Devils' gracefully reminding us how magical this composers work can be when his stars are in the right alignment.”

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The Independant. Michael Church. 4*

Queen Elizabeth Hall, BBC Concert Orchestra.

“I was gripped throughout. Michael McCarthy's lucid and supple production is expertly executed by the cast of four, and there's an outstanding performance by that lovely young soprano Ruby Hughes as the wife.”

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The Telegraph. Rupert Christianson

Huw Watkins's 'In the Locked Room'.

Music Theatre Wales.

“The performances are intelligently acted and vividly sung, with Tim Mead's Licida, Emily Fons' Megacle and Ruby Hughes's Argene standing proud of a consistently strong team...”

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The Guardian. George Hall.

L'Olimpiade, Garsington

“Also singing and acting to this high standard was Ruby Hughes who's love for Licida was not reciprocated, even though she offered her life to save his. Throughout her involved portrayal and expressive and varied singing I could not help but think that she would make a superb Elvira in Don Giovanni...”

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Seen and Heard International. Robert Farr.

L'Olimpiade, Garsington

“...the glowing soprano Ruby Hughes...”

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The Times

L'Olimpiade, Garsington

“What we had was more of Vienna – Mahler’s Ruckert Lieder, with soprano Ruby Hughes. I last heard her as Michal in Saul at last year’s Buxton Festival and she impressed. This performance gave us the chance to hear her in her own right. She sang beautifully, with great expression and a warm tone in the five songs, but particularly in the moving I breathed a gentle fragrance and in the final I am lost to the world, touchingly fading away into “I live alone in my heaven, in my loving, in my song.”

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Philip Radcliffe. The Arts Desk

Mahler Rücker Lieder / Bridgewater Hall. BBC Philharmonic Orchestra

“...Ruby Hughes utterly bewitched her listeners. She displayed a bright soprano of wonderfully beautiful timbre that carried well even in the lower register.”

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Göttinger Tagesblatt

Recital of Orfeo settings

Gottingen Handel Festival

“But the finest singing of the opening weekend came the next evening, when soprano Ruby Hughes joined McGegan's successor in Gottingen, Laurence Cummings, and his London Handel Players for a programme of cantatas and instumental music. The haughty gaze of the Hanoverian Kings (George II founded Gottingen University)- whose portraits hang behind the stage in the university's main hall-and a tremendous thunderstorm provided a dramatic backdrop for Hughes' sensuous performance of Rameau, Handel and Clerambault.”

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The Gramophone Magazine

Gottingen Handel Festival

“The soloist Ruby Hughes emphasized dramatic effects: with strong expression and a resonant, even incisive soprano, she brought the varied rhetoric of the Rameau cantata to life. There was a deep sadness in the aria 'Amor, amor', and a cheeky self confidence in the moralizing final aria about the dangers of impatience in love.”

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HNA

Gottingen Handel Festival.

“Ruby Hughes who must have been quivering not only with love for Acis, but in her proximity to Dame Janet Baker, was a delectable Galatea. Hers is a pure and pearly soprano, already much in demand by the likes of William Christie, Rene Jacobs and the like.”

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Hilary Finch. The Times

Acis and Galatea/Cadogen Hall. ECO

“One expects great things of international stars. One very pleasant surprise in this production is Ruby Hughes, who sings the role of Minerva. This young soprano won the 2009 Handel Singing Competition. She stalked the stage with great poise and elegance and reveled in the plethora of arioso sections which Monteverdi granted her as an immortal. She sings with warmth, superb clarity and control as well as great conviction.”

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Miranda Jackson. Opera Brittania.

The Return of Ulisses / English National Opera

“The cast combined experienced ENO regulars, including Diana Montague as the nurse and Nigel Robson as Eumete, with newer talent (notably Thomas Hobbs as Telemaco, Ruby Hughes as Minerva) to gripping and traumatic effect.”

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Fiona Maddocks. The Guardian

The Return of Ulisses / English National Opera

“Mr. Andrews has succeeded in casting singers who are particularly skilled actors, especially Mr. Randle, whose baritonal tenor is almost crooner-like, and Pamela Helen Stephen as Penelope, Diana Montague as his old nurse and Ruby Hughes as Minerva. Jonathan Cohen conducts a first-rate orchestra playing their period instruments with zip and verve.”

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April 2011 Paul Levy. The Wall Street Journal

The Return of Ulisses / English National Opera

“That they managed to hold their own is credit to the cast, not least Tom Randle's Ulisse, Pamela Helen Stephen's Penelope and Ruby Hughes's Minerva while the orchestra put in a buoyant turn under conductor Jonathan Cohen.”

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Hannah Nepil. Time Out

“Round them are many other memorable characterisations, Ruby Hughes's manipulative goddess Minerva, intriguingly played as Penelope's doppelganger.”

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Richard Morrison. The Times

The Return of Ulisses / English National Opera

“None of the concert's five other Steffani arias could match it for quality: Handel never stole dross. But each vocal item was socked out with equal commitment by the gifted young soprano Ruby Hughes, winner of last year's London Handel Festival Singing Competition. No shrinking violet, this. She squeezed expression from every word. Torment transfigured her face, particularly as Handel's heroine Agripppina...she's made for the opera stage because she sings with such ringing belief.”

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Geoff Brown The Times

Wigmore debut with the London Handel Orchestra.

Arias and scenes by Handel and Steffani.

“The tender, warm-toned soprano Ruby Hughes… the radiantly sensitive young soprano was outstanding…”

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B Minor Mass / Kammerchor Stuttgart / Eßlinger Zeitung

“If Handel's life story was a bit laboured, the playing of 16 baroque trumpets and the Orchestra of the Age of Enlightenment under Benedict Hoffnung was not, combining with the voices of the Oriel and St Cecilia Singers to make a cathedral of the Town Hall. More memorable still was the singing of Ruby Hughes, Neal Davies and Iestyn Davies.”

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A Handel Celebration

Orchestra of the Age of Enlightenment 

“Ruby was the first prize and audience prize winner of the London Handel Singing competition held in Saint George's Hanover Square.”

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“In recent years, the standard of singing has risen consistently with some outstanding young artists emerging to confirm burgeoning careers: Andrew Kennedy, Iestyn Davies and Lucy Crowe to name just three. The winner of both the Adair (First) Prize and the Audience Prize (for once there was no difference of opinion) was clearly not a difficult choice for the jury: young Ruby Hughes, soprano, showed a professionalism and vocal finish in her program which stood out head and shoulders above her rivals. Her larger instrument, with a warm, bright tone that was even through the range, enabled an expressive delivery that drew every bit of drama from her choices from Theodora, Giulio Cesare, Jephtha and Samson' The Jury for this years competition was John Mark Ainsley, Christian Curnyn, Catherine Denley, Gillian Fisher, Michael George and, as Chairman, Ian Partridge.”

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Sue Loder, Opera Today

“The dependably excellent Ruby Hughes was the travesti Ramiro, quite equal to the coloratura, right in character as the tormented seria lover, and given the one moment ('Dolce d'amour compagna') where that Mozartian thing happens and a kind of ideal voice speaks through a flawed human vehicle.”

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Opera Now, Robert Thicknesse

Mozart's La Finta Giardiniera/RCM production

“As usual it was the RCM singers who impressed me the most. Ruby Hughes , a poised singer with a lovely soulful tone and great legato who I've seen in a couple of Handel productions and a Purcell... she has great stage presence too.”

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Opera Now magazines 'Who's Hot'. Robert Thicknesse

“The Chantry Singers and The Bath Philharmonic had a very well matched group of soloists, headed by Ruby Hughes, a resplendent, totally fearless coloratura soprano, filling the abbey with effortless power.”

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Bath Chronicle

Haydn Nelson Mass. Bath Abbey/Peter Lloyd Williams.

“…Ruby Hughes as Lucinda stood out with her beautifully inflected, well produced voice…”

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Lucinda: Don Chischiotte in Sierra Morena

Musikwerkstatt Wien

“But the real jewel in the crown was young soprano, Ruby Hughes, whose agile and well-pointed voice was the ideal vehicle for the many coloratura passages, while possessing the necessary tone and sufficient weight for moments where dramatic expression was required. Arias for voice with oboe obbligato proved especially effective, with both singer and player creating an excellent ensemble through shared dynamics and well-considered breathing.”

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The Plymouth Herald. Philip Buttall

Ten Tours Festival

“Ruby Hughes brings Atalanta to palpitating life. She invests her coloratura arias with ravishing beauty and, under Laurence Cummings's baton, the period band plays its heart out.”

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The Independent, Michael Church

“Ruby Hughes's flutey, radiant Atalanta and Madeleine Pierard's incisive Meleagro had hit persuasive form.”

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The Times. Richard Morrison

“...there is a host of good performances. Ruby Hughes as Rose Maurrant hits exactly the right note of thwarted longing.”

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The Guardian. Michael Billington

“A company that sings and dances with such extraordinary versatility is an added feature of its amazing scope. Ruby Hughes as Rose projects a vocal purity and a broken heart with such sincerity.”

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London Theatre reviews.com

“The Young Vic always delivers a cast of exceptional quality and Street Scene is no different. Ruby Hughes, beautiful as Rose charms and delights with a magnificent voice.”

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Reviews gate.com

“Promesses tenues aussi pour les solistes de l'Académie européeenne de musique, Eurydice en tête, gracieuse Ruby Hughes.”

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Le Monde

Aix-en' Provence Festival August

“The focus of both men's attention as Queen Cleofide was Ruby Hughes, a young soprano with considerable gifts. She has a warm, expressive and easy soprano that gave promise of some weight and power to come, and of all the singers perhaps gave the most finished performance. Articulation, intonation, colour and dynamic were all there and she has an attractive stage presence.”

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Opera Today

“Hughes’s powerful, well-rounded soprano shows huge promise.”

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The Times. N. Fisher

Handel Poro

“She brought the character to abundant life, and can sing with an affecting inwardness which almost every major Handelian character needs, but so often has to make do with arch cooing instead.”

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The Spectator

Handel Poro, re dell’Indie

“Lovers of this music will find it rich enough…there are some fine duets for Poro and his lover Cleofide… Of the young cast it’s the expressive soprano Ruby Hughes, as Cleofide, who makes the biggest, brightest impression.”

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The Guardian

Poro, re dell’Indie Erica Jeal

“Soprano Ruby Hughes brings a melting warmth of tone to her arias”

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Metro W.Thomson

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