“That fine Wagnerian Susan Bullock sang the indomitable Cosima indomitably (and with excellent German diction)”

“Susan Bullock stood out, stately and imperious as Kabanicha, the mother-in-law from hell who scarcely made eye contact with any member of her family, least of all Katya.”

“The need to dominate other people, with no thought for its long term effect, was brilliantly brought out by Susan Bullock as a thoroughly unpleasant and immovable Kabinicha”

“Susan Bullock is chilling in the clipped phrases of Kabanicha”

“Susan Bullock is one of the finest British sopranos of our day and a natural creature of the stage, ideal for the Kostelnička. Everything, from her gait to the tightness of her jaw seemed considered and yet entirely organic. Noticeable too was the quality of her diction: with such clarity, not once were surtitles needed. Forceful in the higher register and as sturdy as a coffin in the voice’s lower reaches, this was a tour de force of a performance.”

“Bullock swept all before her with her memorable Klytemnestra… her musicianship and intelligent stagecraft helped her to dominate even when she wasn’t singing”

“The star of the show was Susan Bullock’s Old Lady, a character very much of Bullock’s own creation— the embodiment of satirical humour, with a to-die-for Bronx accent. Bullock vamped it up brilliantly but never excessively: she captured the character’s vulnerability.”

“…stunningly believable and deeply touching performances of Bullock [as Judith] and Finley”

“Susan Bullock’s pitching of Mrs Lovett was spot on, somehow making the pie-cook’s total lack of a moral compass believable: brilliantly adept at the patter, she was comical without tipping into absurdity, not too cockney, not too sentimental and not too irritating.”

“Susan Bullock [was] magisterial as the benignly stalwart mother.”

“Bullock’s drunken, post-coital impersonation of a fireman brought the house down”

“Susan Bullock and Allison Cook gave virtuoso performances in the chameleon-like soprano roles – both singers blurring the lines between humanity and caricature”

“She is the most thoughtful of musicians and as the tightly coiled Kostelnicka she knows exactly how to turn this to her advantage…she presented a powerful and sympathetic interpretation of this complex character.”

“Susan Bullock’s lacerating portrayal of Jenůfa’s stepmother, the Kostelnicka…Bullock, who tears into the Czech consonants with more conviction than anyone else on stage”

“Enter Mother, and the wonderful presence of the great Susan Bullock, who doubles as the Witch in Act Three…Bullock is equally convincing in both roles, though the Witch gives her far more scope for her marvellous comic gifts.”

“Warner’s incredibly detailed response to the text found a willing exponent in Susan Bullock, herself also equally at one with the conductor Roland Böer in stressing the warmth of the music…Bullock, returning to the title role for the first time in six years, was in strong voice, never exaggerating for musico-dramatic effect and consistently delivering a superbly detailed characterization of this tomboyish, neurotically haunted Elektra.”

“[Sweeney Todd] has a stunning counterpart in Susan Bullock’s Mrs. Lovett, who does the best of any performer so far in making her character likable. Sure, she’s always devilishly funny, but Bullock’s tender glances at Sweeney and complete control over vocal nuance bring new perspectives to this odd couple.”

“A gripping performance of the Waltraute scene is clinched often by the listener, Brünnhilde. Here Susan Bullock takes us on a little masterclass of attention and support that sums up all that’s best about this show: childish hope-against-hope, anger, tears, defiance and incredulity when sister doesn’t buy into her new love.”