'We expected good – very good – and got more than excellent! Two years ago Cutting and Ireland delighted us with a beautifully crafted programme ranging from Monteverdi to George Benjamin. This year, with Sussex bred mezzo-soprano Rebecca Leggett, they presented a winning collection of Sussex songs and poems. Some were whimsical, others passionate, all delivered with beguiling musicality and acted with great charm. Using the whole platform, with just two stools, a book and the piano as props, they evoked the breadth of Sussex, the Downs, the Weald and the sea.

Songs I learned in class as a boy came across as new: Ireland’s ‘Sea Fever’ sung by a countertenor now had a spooky, wistful air; Parry’s ‘Love is a bable’ was actually humorous; Vaughan Williams’s ‘The Water Mill’ made so much more sense being sung by a swain to his lass. Handel’s ‘Streams of pleasure’ and Bernstein’s ‘Adonai ro’i’ demonstrated how well matched these beautiful voices were. Some songs, like Leo Sayer’s ‘When I need you’, definitely of Sussex origin, were sentimental, others like John Sturt’s ‘On the Sussex Downs’ and Frank Bridge’s ‘Where she lies asleep’ were tenderly poignant. George Ireland, facing the audience, presided from the keyboard like a generous host. For me the Bridge and the Britten were the highlights of this excellent programme. The rambunctious encore sent us away most jolly.'
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thelatest.co.uk/brighton/2024/05/09/brighton-festival-the-south-country-hugh-cutting-rebecca-leggett-george-ireland/

'Rebecca Leggett displayed an intrinsic understanding of the operatic element in Bach’s oratorio, particularly her account of ‘Saget, saget mir geschwinde’ which injected a sense of almost breathless urgency, even desperation, to Magdalene’s search for the dead Jesus.'

​seenandheard-international.com/2024/04/historically-informed-southbank-and-the-barbican-celebrate-easter-with-authentic-bach-performances/

'...an impeccably delivered ‘Saget, saget mir geschwinde’ where Rebecca Leggett (singing from memory) held us in thrall with her ecstatic craving to see the risen Lord.'

operatoday.com/2024/04/bachs-easter-music-from-the-choir-and-orchestra-of-the-age-of-enlightenment/


​'...while Rebecca Leggett thrillingly unleashed a wholly operatic – even erotic – passion in the Magdalene’s song of blissful longing, “Saget, saget mir geschwinde”.'

https://theartsdesk.com/classical-music/bachs-easter-oratorio-oae-whelan-qeh-review-joys-springtime

'The mezzo Rebecca Leggett (winner of the Jardin des Voix 2023) delivers that evening a unanimously noticed and promising performance about the continuation of her young career. The round timbre and lyrical range are embellished with an easy technique...Variations in intensity are noticed, as well as the breath length and the ability to insert chiseled nuances into her interpretation, which at times gives her the appearance of an evangelist of Bach passion. Her last solo earned her a discreet kiss, sent remotely by William Christie smiling behind his harpsichord.'

www.olyrix.com/articles/production/6762/festival-de-printemps-les-arts-florissants-vendee-matin-cafe-eglise-benoit-hartoin-augusta-mckay-lodge-florian-carre-28-29-30-avril-2023-article-critique-compte-rendu-paul-agnew-william-christie-concert-musique-baroque-culture-france

'The concert is also an opportunity for another discovery, that of the young mezzo-soprano Rebecca Leggett...Her fresh and expressive voice seduces from the outset, charming and intimate accompanied by Thomas Dunford's attentive theorbo in Blow's "Peaceful is he...", she is aerial with clear highs for a very beautiful moment of grace and emotion.' *translation*

www.resmusica.com/2023/05/04/purcell-au-festival-de-printemps-des-arts-florissants/