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Rossini's Petite Messe Solennelle

Otley & Ilkley Choral Society



"Beth Moxon, in an intense and affecting performance of the emotional heart of the work: her tone was beautiful right through to the bottom of her range."

Chris Skidmore,Wharfedale Observer

Bizet's Carmen

Festival de la Vézère

Diva Opera


"Sous les traits respectifs de Frasquita et Mercedes, la soprano Faustine de Monès et la mezzo Beth Moxon forment un duo très complémentaire dans un registre différent.... la seconde, clope au bec, usant d’un mezzo plein d’ardeur et de piquant se mariant bien à une gestuelle affriolante (qui vient presque en faire de l’ombre à Carmen)." 

Pierre Géraudie,

Mozart's Cosi fan tutte

Waterperry Opera Festival


"Beth Moxon's warmly-sung Dorabella ... acted to perfection." 

Hugh Canning, The Sunday Times

"Beth Moxon made a delightful Dorabella ... well able to hold her own in her aria and whilst she capitulated to Morton's naked chest she was clearly no easy pushover.


"Beth Moxon ...was in sparkling form as the more pliant Dorabella"

Nicola Lisle, Oxinabox

Ravel's L'enfant et les sortilèges

Opéra de Lyon/ROH Muscat


Dans le rôle de l’Enfant, Beth Moxon offre une jolie voix, qui parvient à se faire merveilleusement douce dans l’évocateur «Toi, le cœur de la rose»


Monteverdi's Il ritorno d'Ulisse in Patria

Opéra de Lyon/Opéra de Vichy/ Opéra Royal de Versailles


Tout aussi désarmante s’avère la Pénélope de la mezzo britannique Beth Moxon: son chant constamment nourri par des graves pénétrants oscille également entre force et fragilité, et ce dès son intense monologue d’entrée.


Attachante Pénélope, la mezzo-soprano Beth Moxon maîtrise les inflexions douloureuses du personnage tout autant que sa résistance, jusqu’à la libération du chant dans la scène de reconnaissance et le duo d’amour, tout de finesse et d’allégresse. 


 Au-delà d’une perfection technique parfaitement imprégnée de celle typiquement baroque, la distribution vocale love les auditeurs sans complaisance dans le chant montéverdien.... Beth Moxon s’approprie tout le cheminement intérieur de Pénélope en exacerbant sa solitude, sa douceur et ses espoirs.


Derrière la marionnette de Pénélope, la mezzo Beth Moxon dévoile un timbre non moins expressif et vibrant, nanti d'une belle élasticité dans l'expression des nuances, et d'une manière soignée de chanter en récitant. 


Pénélope est chantée par la mezzo-soprano Beth Moxon à la voix joliment ronde, particulièrement dans son registre grave, et pleine de belles intentions dans le soin de ses phrasés.


Hampstead Garden Opera's Summer Concert


To set the scene, Beth opened with a piece by the less well known Ambroise Thomas from his opera Mignon "Connais-tu le pays?' Beth's wonderful voice soared with this rather sad, reflective and mournful song.

The highlight of the evening was surely when Luci and Beth combined for the heavenly Flower Duet from 'Lakme'. They were perfectly matched and delivered an outstanding performance.

Huw Watkin's In the locked room

Royal College of Music


"Beth Moxon convincingly charts Ella’s quiet disintegration"

★ ClassicalSource

"...the cast of four produced dramatically focused and confidently sung performances... Beth Moxon delivered Ella’s short, declamatory lines with conviction and fluency, while managing to make Ella appear convincingly troubled and ‘lost’."


Beth Moxon was a dissatisfied, emotionally frustrated Ella, living largely in her imagination."

Opera Magazine



Elgar's The Music Makers 

Sheffield Cathedral


"The music requires large forces and much subtlety of tone.  The combined choirs were equal to the task, as was the striking mezzo, Leeds-born Beth Moxon, whose strong voice and clear diction enabled her to rise above the tremendous wave of sound from choir and orchestra at her back."

Bill Blackburn

Handel's Israel in Egypt

Epsom Choral Society


"Beth Moxon had a little more to do, including introducing the first chorus. With only a few chances to impress, it would be tempting to overdo the volume. Instead, she measured And the children of Israel sighed with delicacy. The choral society picked up on that... the whole choir sang their entries with the same spirit: the restraint and refinement made for a moment of true beauty. Her duet with tenor Dominic Bevan and her solo Thou shalt bring them in were sung with flexible delicacy. If Handel’s line demanded tricky rhythmic skips before a long, held note, it sounded perfectly natural, with an engaging shape to each longer note."

Nigel Williams


Handel's Faramondo 

London Handel Festival


"Beth Moxon is the glamorous, self-assured Rosimonda"

★★★★ The Guardian

"Beth Moxon’s mobster princess Rosimonda has a rich and wide-ranging coloratura."

The Express

"Beth Moxon’s suave Rosimonda is the torch singer...Moxon puts her arias over with the panache of a cabaret star."

★★★★ The Stage

"Beth Moxon convincingly captured the conflicted Rosimonda’s inner battle with desire and duty. The only thing she seemed certain about, as she strutted and fretted back and forth, compulsively chain-smoking, was her disdain for Gernando. Rosimonda’s vengeance aria bristled, but her final aria charmed and calmed."

Opera Today

"Ida Ränzlöv’s Faramondo and Beth Moxon’s Rosimonda were a good match for each other, projecting different layers in their characters – each strongly declaiming their first aria to show that they mean business, but expressing more nuance later."

★★★★ ClassicalSource

"...warm, emotional mezzo..."


Rossini's Petite Messe Solennelle


"Mezzo soprano Beth Moxon gave us a tender Agnus Dei well supported by the simple but effective choral interjections of Dona nobis as this developed into very interesting dialogue."

Peter Lutton

Hampstead Garden Opera's Summer Concert


"There was more Handel (Verdi Prati from Alcina) from mezzo Beth Moxon: sad, wistful and lovely. 

My highlight of the evening was Monteverdi's Pur ti miro (L'incoronazione di Poppea). A stunning duet from Beth and Sofia, they beamed with serene enjoyment as they recreated the magic of music first performed in 1643"

David Winskill

Vaughan William's Riders to the Sea 

at British Youth Opera



"Strikingly mature, both vocally and dramatically, Beth Moxon’s Maurya is the centre to this maelstrom of musical grief. There’s a stillness to her performance that chafes effectively against the energy of Rebecca Silverman’s Cathleen."

★ The Spectator



Benjamin Britten's Albert Herring
at Hampstead Garden Opera



"... startlingly good... the golden-toned, golden-headed Beth Moxon (Nancy)... grew with her role as much as Davies (Herring)"

Alice McVeigh

Handel's Messiah


"Beth Moxon’s rich contralto conveyed the pathos of Christ in He Was Despised."

Wharfedale Observer



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