Rebecca Ockenden  Soprano

Press

Rebecca Ockenden was the singer who most impressively brought out the theatrical nature of Handel’s oratorio and its close affinity with opera. Her soprano voice, with its flexibility and confident coloratura, brought the shifting emotions of Athalia vividly to life.
Handel Athalia
Basler Zeitung

Rebecca Ockenden brought to her role as a charming Iphis a distinctive and personal flavour through her beautiful full-bodied tone and her wonderfully luminous voice.
Handel Jephtha
Engadiner Post

Soprano Rebecca Ockenden (Venus) offered an ethereal, delicately phrased interpretation of the gorgeous tune, “Fairest Isle.”
Purcell King Arthur
Les Arts Florissants, William Christie
San Francisco Classical Voice

A good example of Rameau’s masterful writing of dialogue is in the duo between Cloris and Zéphyre, perfectly interpreted by Gaëlle Méchaly and Rebecca Ockenden, with fresh, transparent voices and ideally dramatic character.
Rameau Zéphyre
Les Arts Florissants, William Christie
Filomúsica, Spain

Cloris submits to her fate with a supporting role, here articulated with the agreeably distinctive and warm vocal timbre of Rebecca Ockenden.
Rameau Zéphyre
Les Arts Florissants, William Christie
Gramophone Magazine

The wonderful soprano Rebecca Ockenden touched the hearts of the audience with the pure tone of her voice.
Mendelssohn Psalm 42
Südostschweiz

Rebecca Ockenden offered a delightful vocal performance in all her arias and recitatives. A sonorously round and beautiful soprano voice with a rich spectrum of expression.
Mendelssohn Psalm 42
Engadiner Post

The performance of soprano Rebecca Ockenden was enchanting. Her clear voice effortlessly filled the hall.
Orff Carmina Burana
Neue Zuger Zeitung

Rebecca Ockenden’s soprano showed versatility and joyous coloratura, while at the same time fitting seamlessly into the ensemble.
Haydn Nelson Mass and Bach Magnificat
Neue Zuger Zeitung

Among the soloists it was soprano Rebecca Ockenden, with her beautifully flowing, luminous voice, who most stood out.
Hasse Miserere
Basellandschaftliche Zeitung

How rich the opera world currently is in highly talented sopranos was demonstrated by Sophie Daneman and Rebecca Ockenden.
Rameau Zéphyre and La Guirlande
Les Arts Florissants, William Christie
Berlinonline

The two soprano singers Sophie Daneman and Rebecca Ockenden, with their extremely flexible and lively voices, are also convincing in their solo arias.
Desmarest Grands Motets Lorrains
Les Arts Florissants, William Christie
klassik.com

Rebecca Ockenden is an assured and beautiful-voiced Pamina.
Mozart Die Zauberflöte, Goetheanum
Basler Zeitung

Rebecca Ockenden, a soprano with crystalline high notes, sparkled in a manner appropriate to the arias she was singing.
Handel, Messiah
Nice-Matin

Rebecca Ockenden, with her flawless voice, devoid of frills but extremely versatile, gave eloquent contours to the text.
Handel Messiah
Bündner Tagblatt

The highly personal timbre of her voice often dares to go to the very limits of representing grief and despair in a positively naturalistic manner, yet without ever imperilling the roundness of the artistic whole.
Monteverdi Pianto della Madonna and Lamento d’Arianna
Wiesbadener Kurier

Her singing corresponds to the ideal of the Baroque age: a contemplative empathy with the inner content of the music develops with vocal power; the strong focal point of her singing is able, like some kind of whirlpool, to draw the sympathetic listener in.
Monteverdi Scherzi musicali, Lambert Airs de cour, Purcell Songs
Wiesbadener Kurier

Rebecca Ockenden exudes a special musical personality. The radiant simplicity she brought to the aria “Hier erstarrt mein Herz und Blut” was especially successful.
Keiser Markus-Passion, Wiesbaden
Wiesbadener Tagblatt

Among the soloists, it was Rebecca Ockenden who gave the most pleasure with her soprano voice, which carried well in both upper and lower registers.
Handel Alexander’s Feast
Basler Zeitung

Lute song reviews

“The concert given by Rebecca Ockenden and Sofie Vanden Eynde was a pure joy. Their trueness of tone, their apt and finely gauged expression and the radiance of the voice touched our hearts deeply. These two musicians exerted such a spell over us that we could scarcely extricate ourselves from the world into which they had plunged us, simply by the compelling power of their sincerity.”
Love’s Labour’s Lost programme
Crescendo Magazine, Brussels

“Rebecca Ockenden and Sofie Vanden Eynde offered us a sophisticated and well-coordinated programme with Dowland as its focus. The lute playing proved as captivating as the agile, expressive and pure-toned soprano voice, marked by clear articulation and an eloquence, which were supported by a delightful gift for acting. This was a concert which concluded with a long ovation.”
Love’s Labour’s Lost programme, Festival Midi-Minimes, Brussels
La Libre Belgique

“This is a lovely disc. Rebecca Ockenden is a soprano, and a very fine one. The singing is excellent, as is the luting. These are demanding songs, pitched quite high, many of them requiring a strong, projected voice, and given here with just the right amount of expressive word-painting. Anyone with an interest in this repertoire needs this disc.”
CD: Mistress Elizabeth Davenant, her Songes
Early Music Review, U.K.