Repertoire
| Berkeley | A Dinner Engagement | The Grand Duchess of Monteblanco |
| Bizet | Carmen | Carmen |
| Britten | Death in Venice | Russian Nanny |
| Erick Flores | and the Crowd (wept) | Three |
| Handel | Giulio Cesare | Giulio Cesare* |
| Theodora | Irene (semi-staged) | |
| Xerxes | Arsamene | |
| Hasse | Siroe, re di Persia | Emira (semi-staged) |
| Ed Hughes | Devil’s Drum | Mezzo |
| Mozart | Die Zauberflöte | Dritte Knabe (English and German) |
| The Magic Flute | Third Lady (English; several translations) | |
| Puccini | Suor Angelica | La Maestra delle Novizie |
| La Zia Principessa (cover) | ||
| Purcell | Dido and Aeneas | Second Witch (Sorceress*) |
| King Arthur | Alto roles | |
| Wagner | Die Walküre | Schwertleite |
* denotes roles in preparation or performed in extracts
Mezzo-soprano Cathy Bell’s portrayal of Arsamenes was an ideal foil to the extravagant, extrovert Xerxes – steady, thoughtful, and considered in action, and with a rich, full sound that blended well with and underpinned the higher parts of Xerxes and Romilda, but which was thrilling to hear as a solo instrument.
Handel Xerxes with Hampstead Garden Opera, April 2015, reviewed in Early Music Today by Adrian Horsewood
