The Magic Flute, Waterperry Opera Festival 2019
"Forceful and note-perfect."
-Mark Valencia for Opera Magazine
"The Queen’s indomitable spirit is exemplified in Penfold’s plucky high notes."
-George Hall for The Stage
"Special mention should go to our Queen of the Night (Eleanor Penfold) for delivering her tricky signature song (which even I recognised) flawlessly."
-Matty Czaczkes for The Daily Info
"Eleanor Penfold has the operatic clout and vocal gymnastics required for the Queen of the Night."
-Nicola Lisle for Ox in a Box
The Magic Flute, Hurn Court Opera 2019
"Eleanor Penfold was a striking stage presence...she had better control and clarity during the infamous coloratura of Der Hölle Rache than some more seasoned singers I have seen..."
-Will Frampton for Bournemouth Echo
Don Giovanni, Waterperry Opera Festival 2018
"Both Donnas-Eleanor Penfold (currently a Britten-Pears Young Artist) as Anna and the Sydney-trained Alison Manifold as Elvira-had the vocal equipment to dazzle."
-Roger O'Neill for Opera Magazine
"There were also stellar performances from Ben Durrant in the role of Don Ottavio and Eleanor Penfold, singing the role of Donna Anna, who duetted with beauty and delicacy."
-Jon Blunt for Daily Info Oxford
Dardanus, English Touring Opera 2017
“Eleanor Penfold proves radiant as the Phrygian Woman and Venus"
-Sam Smith for Music OMH
“There’s some stylish singing...with Eleanor Penfold (Venus) floating through one of Rameau’s most delectable melodies.”
-Richard Morrison for The Times
"Eleanor Penfold steps from the chorus to sing an exquisite aria calling for peace at the end of Act 3, a still point in the action and one of the evening’s most beautiful moments."
-Janet Banks for IOCO Kultur im Netz
Les fêtes d'Hébé, Opéra Bastille/RCM London 2017
"Eleanor Penfold est une séduisante Bergère"
-Laurent Bury for Forum Opéra
"Eleanor Penfold use avec agilité de sa voix légère et flûtée en Naïade et en Bergère."
-Damien Dutilleul for Olyrix
"Eleanor Penfold, depicting stream and shepherdess...provided an enchanting high point in the first act."
-Cara Chanteau for The Independent