Accolades

Competitions

2018 Finalist – Dean & Chadlington Singing Competition

2017 Semi-Finalist – Cheltenham Bach Choir Singing Competition

2015 Overall Championship Winner – Bristol Eisteddfod

2014 Overall Winner – Kingswood Eisteddfod

Scholarships

Gil Rodriguez Scholarship – Awarded 2018

BBC NCW Student Scholarship – Awarded 2015

Reviews

Cosi Fan Tutte (Fiordiligi)

'electrifying... one of the most engaging things I’ve seen in several decades of Fringe going” “a most entertaining performance whether you are an expert or an opera novice'

Orest (Solo Voice)

'An off-stage vocal consort is amplified from speakers scattered around the auditorium, with cries of ‘Orest’ at leaping intervals, the sibilants echoing around in space...The vocal writing is fiendishly difficult – full of leaps across the registers – but the entire cast had clearly been exceptionally well prepared, making it sound like the easiest thing in the world.'

Orpheus in the Underworld (Mercury)

'The vocal performances are equally as stunning and special mention should be given to...Laura Curry.'

LA BOHEME (Musetta)

‘How we were appalled by your tantrums in the café but also absolutely captured and enchanted by your exuberant joie de vivre and sensuality. No wonder Marcello could not help himself when there was the opportunity to be reunited! You brought a beautiful, well-controlled voice to the part and you used it to portray both the fiery Latin passion and the gentle, tender sympathy which are both present in this character.’

NATASHA (Solo Voice)

‘The performers had clearly worked intensively in rehearsal to arrive at a relaxed, intuitive understanding of each other’s contribution in the piece so that listening, exchange, combination and opposition created a pulse, a rhythm, climaxes, recovery and ultimately a shapely resolution of the work. They are highly skilled young professional musicians.’

‘The individual physicality and connection between all performers was another highlight of the performance. All of the ensemble seemed to create their own distinct persona in the telling of their story (vocally and physically). The dynamic interplay and communication between the composer/musician and the vocalists also contributed to generate a connection that was all the more visible because of the intimacy between performers and audience.’

Peter Grimes (2nd Niece)

‘...the two Nieces from Regan Gardner and Laura Curry risked comparison with characters from television’s Little Britain, but all three sang well.’

MAKE AN ARIA (Nurse)

‘It was excellent, very professional and emotionally tough. Amazingly talented kids and beautiful venue.’

‘I don’t think I’ve experienced a more powerful expression of place through music theatre or any other means really ever before, and St Fagans has been brought to life for me and particularly the Castle here in a quite extraordinary way. I think it shows really the transformations that creativity and artistic expression can have and can make of a place that otherwise perhaps would not be understood as we have had the privilege of understanding it this afternoon.’

The Madness Game (Dr Goffman)

‘…powerful performances from Jack Hamilton, Edmund Danon and Laura Curry…’

 A MIDSUMMER NIGHT’S DREAM (Tytania)

‘Oberon and Tytania are the king and queen of fairy land, regally portrayed by Matthew Paine and Laura Curry.’

The Wolves Descend (Phoebe)

‘Curry’s vocal is crystal clear and – more importantly – emotive…’

‘Soprano Laura Curry was particularly accomplished as Phoebe, her powerful voice drifting in and out of beautiful discord with Pearson’s hammer-horror composition – certainly one to watch when she finishes her Music Diploma. And no matter how much patrons pay to sit in red velvet seats, you can’t buy a voice like her’s.’

‘With fantastic performances by Laura Curry as Phoebe the Werewolf and Guy Withers as Croatian guesthouse owner Mr Goren, this is a solid piece of writing, well worth a look if you’re interested in modern opera’

‘The role of seemingly innocent tourist Phoebe is played by Laura Curry, whose huge and compelling voice totally fills the room.’

THE PIRATES OF PENZANCE (Mabel)

‘Other commendable castings were Joe Richomme as the Pirate King, who skilfully commanded the stage, and Laura Curry, who brought her wit and mischief to the role of Mabel.’

CARMEN (Frasquita)

‘Having said that, many of the individual performances were truly excellent. Some of the smaller roles too were very well played: Matthew Pearson’s ‘Fat Zimmy’ and Laura Curry’s Francesca spring to mind as particular examples.’

‘…highlights included a scene featuring Mercedes (Rosanna Purdie) and Francesca (Laura Curry) dancing with Carmen for the men, which was very intimate and encapsulated a feeling of anticipation…’

‘Laura Curry, who sang beautifully in French.’