Reviews
Adina - The Elixir of Love
English Touring Opera
September - November 2025
Natasha Page's Adina has an impressive range of vocal colours... The two are a winning pair of lovers...
The Guardian
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Natasha Page made a charming Adina... combining facility with grace...
Planet Hugill
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She - singing with bright vibrancy, a touch of steel, and some daring pianissimi...
The Stage
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Among the cast, first honours must go to Natasha Page, singing Adina. Her soprano has a decent trill, a clean top and some good pianissimi.
backtrack
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Natasha Page brings a freshness to the role of Adina... We are treated to her lightly-decorated, soaring soprano, and she certainly knows how to hold a note for dramatic effect.
markaspen.com
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Powerful vocals that stop you in your tracks.
weekendnotes
Megacle - L'Olimpiade
Vache Baroque
September 2024
...Megacle has pathos and flair sung by Natasha Page. [This is an] excellent fresh relatively new [voice] to the opera world... Page demonstrates great skill in coloratura and style with aria after aria oozing emotion.
operascene.co.uk
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Singing was... confidently delivered by the excellent young cast... Natasha Page in particular [was] impressive.
OperaNow
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Pamina - The Magic Flute
Wild Arts
May - September 2024
Soprano Natasha Page has a lovely, pure voice and was fully capable of projecting Pamina’s searing pain in the second act; her statement of ‘Tamino mine’ was truly touching.
seenandheard-international.com
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Tamino (Richard Dowling)... and Natasha Page (playing Pamina) made a very convincing and likeable pair. Her quiet notes (especially) took the breath away with an ethereal beauty! The aria “Oh, I feel it, it is gone” was (for me) the emotional high of the entire piece...
fairypoweredproductions.com
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Natasha Page’s Pamina demonstrates superb control over her vocal dynamics. The aria... is as heart-breaking here as any I’ve heard.
bumonaseat.wordpress.com
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As the abused Pamina, soprano Natasha Page expresses the innocence and vulnerability of the young woman... She has a very tender aria when Tamino cannot speak to her... Page brings out its pathos with heart-rending sincerity.
markaspen.com
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Richard Dowling as Tamino and Natasha Page as Pamina are perfect in both actions and voice, and have a lovely chemistry which works so well.
fashion-mommy.com
The Messiah
Wild Arts
December 2024
"Soprano Natasha Page really came into her own with the soaring sweetness of “I Know That My Redeemer Liveth,” bringing a full-blooded sense of cathartic relief to her message."
The Arts Desk
“How beautiful are the feet of them that preach the gospel of peace” is sung with a wonderfully delicate touch by lyrical soprano Natasha Page... Her intense interpretation of that beautiful air, “I know that my redeemer liveth” has a remarkable touch. She holds the final note exquisitely extended and without faltering, symbolic of the evermore that is eluded to in this passage." markaspen.com
Fiordiligi - Cosi fan tutte
Celebrate Voice Festival
October 2023
It would be hard to imagine a better line-up than this, led by Natasha Page’s conflicted Fiordiligi... The famous arias are gloriously sung with energy and deep emotion – notably Fiordiligi’s Come scoglio...
ftr.co.uk
Rita - Rita
IfOpera
August 2022
Natasha Page is equal to the plucky role of Rita, particularly in her first aria where she asserts herself with steely vigour.
classicalsource.com
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Rita, adroitly sung and acted by Natasha Page...
operascene.co.uk
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Separation and Reconciliation:
Opera Scenes
Royal College of Music Opera Studio
December 2020
As Monteverdi’s Poppea and Nerone, Natasha Page and Maria Hegele, respectively, established a dramatic and musical tension which was sustained with thrilling effect... Page’s lustrous soprano was met with firm, bright challenge from Hegele’s Nerone. ​
operatoday.com
Concert Reviews
A consistent characteristic of PCO concerts over the years has been the high quality of soloists and talented soprano Natasha Page was no exception. With a glorious rich tone, soaring high notes and engaging manner, she held the audience in thrall from her first note. Natasha covered a wide range of styles with her songs, all of which were made to look effortless by a singer evidently at the top of her game. A lively, humorous performance of The Laughing Song from Die Fledermaus contrasted with an impassioned rendition of Rusalka’s Song to the Moon and the Spanish-flavoured The Girl from Cadiz, Natasha’s expressive face and engagement with the audience bringing the words to life.
lightmusicsociety.com