Current Engagements

August 1, 2021

Erda and Flosshilde

Das Rheingold (in concert)

Bregenzer Festspiele

January 26, 30 February 3, 7, 11, 15, 19, 23, 27, 2022

1st Norn and Flosshilde


Teatro Real, Madrid

May 24, 28, 31, June 3, 6, 9, 12, 2022

Flowermaiden and Voice from Above


Opéra de Paris

Mahler Symphony No. 2, Teatro del Maggio Musicale Fiorentino, 2021

The two soloists (soprano Christine Karg and contralto Claudia Huckle) contributed with great commitment to Myung-Whun Chung’s engrossing interpretation
- Fabio Bardelli, Opera Click

... the delicate tracing of ‘Urlicht’, well supported by the voice of Claudia Huckle
- Elisabetta Torselli, Giornale della Musica

Song Recital with Simon Lepper, Djangoly Recital Hall, Lakeside Arts, Nottingham, 2020

Claudia sang the best-known song ‘Where Corals Lie’ with a haunting, yearning quality whilst reserving maximum vocal power and her remarkable vocal range for the final song ‘The Swimmer’... Claudia’s final climactic note was nothing if not a force of nature in itself ... Claudia Huckle and Simon Lepper [also] performed Wagner’s Wesendonck Lieder, the duo inhabiting the world of the poems with rich, vibrant colouring of the words. This was especially true in their sensitive (rather than sentimental) performance of the opening song ‘Der Engel’ ... There was one short encore, Benjamin Britten’s folk song arrangement ‘O Waly Waly’, which gave us in a nutshell the qualities of the Huckle/Lepper partnership: a deep richness of sound, insight into meaning and sensitivity to tonal colour.
-Nottingham Post, William Ruff

Mendelssohn's Elijah, BBC Symphony Orchestra, 2020

Contralto Claudia Huckle (Angel/Queen) has the most beautiful velvety voice and uses it to perfection. Her aria ‘O rest in the Lord’ – with BBC SO principal flautist Daniel Pailthorpe accompanying her with utmost musicality on his wooden flute – did indeed feel comforting in many dimensions.
- Seen and Heard International, Agnes Cory

No less impressive was the contralto voice of Claudia Huckle, with its sensuous range of dark-chocolate and vanilla tones. Her recitatives as an Angel were delivered with absolute assurance, and in the moments of exposed writing in her arioso “Woe unto them who forsake Him!” she moved effortlessly through all her registers. An additional highlight was the gentle vibrancy she brought to her aria “O rest in the Lord”.
- Classical Source, Alexander Hall

Mahler Kindertotenlieder, BBC Scottish Symphony Orchestra, 2020

[Claudia’s] was a performance of elegance and poise....
- Herald Scotland, Keith Bruce

Handel Messiah, Freiburg Baroque Orchestra, on tour, 2019

Claudia Huckle’s contralto was in a dark bloom, with characteristically wounding low notes (her ‘grief’ in ‘He was Despised’ was heart-stopping).
- Benjamin Poore, OperaOMH

Contralto Claudia Huckle has a bewitching tone in amber colours.
- Julian Sykes, Le Temps

Die Ägyptische Helena, Teatro alla Scala, 2019

The prophetic mussel, which lives inside the radio but often comes out on stage, is [sung by] Claudia Huckle, wrapped in gold and with an angelic voice.
- Giornale della Musica, Stefano Jacini

Claudia Huckle is an enchanting Omniscient Mussel, with a dark contralto voice of shapely velvet.
- Connessi all’Opera, Stefano Balbiani

Claudia Huckle's Mussel, Thomas Hampson's Altair and Attilio Glaser's Da-ud are all really sumptuous.
- NonsoloCinema, Luca Benvenuti

On the whole, the complementary roles are particularly well done, Claudia Huckle, the omniscient seashell asserts a beautiful contralto voice with a velvety tone.
- Wanderer, Guy Cherqui

Finally, Claudia Huckle's shimmering contralto, applauded in Schwertleite three years ago [read our column from June 29, 2016], has a great effect in the role of the Prophetic Shell, to which it lends a tender tone and perfect suppleness.
- Anaclase, Katy Oberlé

Götterdämmerung, Edinburgh International Festival 2019

Danae Kontora, Catriona Morison and Claudia Huckle added a delicious effervescence as Rhinemaidens.

- Ken Walton, The Scotsman

Mahler Symphony No. 2, Festival de Saint-Denis, 2019

The contralto voice of Claudia Huckle appears in all its comforting roundness accompanied by a distant fanfare. She evokes the sky or God with much sweetness, with a smooth Viennese legato softening the upper register of the voice in the ascending phrases. This full and sonorous voice is needed when the Lied (an extract from Knaben Wunderhorn) suggests the impossibility of accessing the kingdom of heaven 'Ach nein! Ich liess mich nicht abweisen!' ('No, I will not let myself be pushed back!'). Her warm tone is accompanied by an expressive vibrato.
-Frédérique Epin, Olyrix

As the last notes of the thrilling third movement explode, Claudia Huckle comes to the proscenium to open with remarkable serenity the brief fourth movement, "Urlicht". The dense and airy timbre of her contralto is ideally matched with the solemn chorale of brass, whose even and consistent sound, similar to the colours of an organ, accompany with gravity the declamation of the metaphysical text.
- Arthur Macé, Bachtrack

Der Ring des Nibelungen, Royal Opera House, 2018

The opera's two trios, Norns and Rhinemaidens, were pretty much flawless. Contralto Claudia Huckle sang magically as the First Norn…
- Mark Valencia, WhatsonStage

The Norns, led by Claudia Huckle, and the Rhinemaidens, featuring a striking Lauren Fagan, were superb.
- Neil Fisher, The Times

And the numerous red lines running through the cycle’s earlier operas turn out to be threads woven by the all-knowing Norns, magnificently sung here by Claudia Huckle, Irmgard Vilsmaier and Lise Davidsen.
- Flora Willson, The Guardian

It’s rare to be so gripped by the Norns as this audience clearly was – and it was not just Lise Davidsen’s startling, Rita Hunter-like attack which impressed, but Irmgard Vilsmaier’s dramatic commitment and Claudia Huckle’s warm, beautiful tone.
- Melanie Eskenazi, MusicOMH

The Vision of Cleopatra - Dutton Epoch CD recording

The musical argument is carried principally by the chorus and orchestra, which is not to denigrate the contribution of the four soloists, especially Claudia Huckle as Cleopatra, whose final soliloquy is exquisite.
- Gramophone magazine

Claudia Huckle sings the contralto role of Cleopatra with total conviction and impressive engagement. As a contralto her voice has the right extra weight to its sound.

Mahler Symphony No. 8, BBC Proms, 2018

Yet this was also a performance in which the soloists were beautifully cast and contrasted, from the stratospheric purity of Joélle Harvey’s Mater Gloriosa to Claudia Huckle’s earthy Maria Aegyptiaca….
- The Times, Anna Picard

Maria Aegyptiaca lies low but held no fears for the rich-sounding Claudia Huckle.
- Seen and Heard International, Jim Pritchard

The pleasures here were compounded here by Norwegian mezzo Mariane Beate Kielland, an unusual timbre from a sympathetic performer standing in for the peerless Christine Rice, true contralto Claudia Huckle and reigning Wagnerian Stuart O’Neill....
- The Arts Desk, David Nice

Der Ring des Nibelungen, Leipzig Opera, 2018

...Claudia Huckle as Erda was responsible for one of the best moments of the entire performance.
-Seen and Heard International - Jose M. Irurzun

Claudia Huckle begeistert mit ihrem dunkel gefärbten Mezzosopran (sic) und ihrem warmen Timbre in beiden Erda-Partien

Claudia Huckle thrilled with her dark colored mezzo-soprano (sic) and her warm timbre in both Erda parts.
- O-Ton Kulturmagazin - Andreas H. Hölscher

Bach St Matthew Passion, European tour, Orchestra of the Age of Enlightenment, 2018

Claudia Huckle’s alto solos shone darkly, treading a line between redemptive warmth and gentle sorrow. “Erbarme dich” was delivered with breathtaking lyrical control, gently imploring, her voice woven seamlessly with the fiercely expressive violin solo of Matthew Truscott, both floating on the ethereal strings of the OAE. Transporting stuff. Her duet with soprano Louise Kemény was another highlight, with lacerating tone-painting from the choir’s whiplash interjections in “So ist mein Jesus nun gefangen”: “Loose him! Leave him! Bind him not!’
-Bachtrack - Benjamin Poore

... the lustrously youthful Claudia Huckle, whose sublime Erbarme dich with Matthew Truscott’s eloquent violin obbligato was the emotional climax of the piece.
-The Sunday Times - Hugh Canning

…the lustrous contralto of Claudia Huckle.
-Evening Standard - Nick Kimberley

Claudia Huckle (con un bellísimo timbre de contralto) contuvieron una emoción añadida.

-Claudia Huckle (with a beautiful contralto timbre) contained an added emotion.
-El Pais

Elgar Dream of Gerontius, York Minster, Hallé Orchestra, 2017

Claudia Huckle made her debut as the Angel with a mezzo (sic) of luminous, consoling empathy......
-The Sunday Times, Hugh Canning

Claudia Huckle’s Angel showed her true heft in the Elysian Fields.
-The Press, York, Martin Dreyer

Mahler Symphony No. 2, Boston Philharmonic, 2017

Alto Claudia Huckle is a rising star on the British scene for her interpretations of Mahler’s vocal works and it’s easy to hear why. She sang with a rich, dark voice that brought haunting beauty to “Urlicht.”
- Boston Classical Review, Aaron Keebaugh

It was the best live Mahler Second I've heard over the past 38 years....Contralto Claudia Huckle drifted on stage unobtrusively as the third movement closed, without a book, and looked the audience in the eye as she sang of the child who won’t let an angel block her way to heaven.
- The Boston Globe, Jeffrey Gantz

Samson et Dalila, Chelsea Opera Group, 2017

As Dalila, Claudia Huckle displayed astonishing mastery of this fantastic siren role; she has all the vocal qualities needed. She also sings French extremely well, and has a superb sense of line; add to which dangerous charm, and allure, and the moments where Dalila’s duplicity is revealed were the more chilling for being understated. Huckle made the part her own.
- Classical Source, Alexander Campbell

Claudia Huckle was a rather imperial-looking Dalilah, but she used her lustrous, rich lower voice to reveal the temptress’s dangerous voluptuousness. Indeed, though the role is designated for mezzo, Huckle describes herself as a contralto and this was borne out by the authoritative amplitude and plushness of her low voice. She moved seamlessly across registers; the far-reaching lines of “Mon coeur s’ouvre a ta voix” rose and fell languorously, the voice alluring and well supported. No wonder Samson was blind to her treachery.
- Opera magazine, Claire Seymour

Madama Butterfly, Glyndebourne Tour, 2016

Claudia Huckle is well known to Glyndebourne and Garsington audiences, and it came as no surprise that hers is a Suzuki with few equals; from her creamy, elegantly phrased singing to her exact impersonation of the movements of a shy servant, she drew the eye whenever she appeared.
- Music OMH, Melanie Eskenazi

…. the ever-fabulous contralto of Claudia Huckle ensures that Suzuki, the maid, all but steals the show.
- What's on stage, Mark Valencia

.….there is strong support from Michael Druiett’s Bonze and Claudia Huckle’s velvet-voiced Suzuki
- The Times, Neil Fisher

Claudia Huckle delivered a rich-toned, sympathetic Suzuki
Opera magazine, Hugh Canning

Francesco Verna and Claudia Huckle were stalwart and sympathetic as Sharpless and Suzuki…
- The Telegraph, Rupert Christiansen

Claudia Huckle’s rich contralto gives her Suzuki vocal depth to match her portrayal’s compassion
- The Stage, George Hall

Claudia Huckle has an almost show stealing voice, but knows how to use it well and allow Cio-Cio San to shine…
- The Latest, Andrew Kay

….Suzuki - the excellent Claudia Huckle (…..)Huckle’s plum toned Suzuki is silky and warm…..
- Bachtrack, Mark Pullinger

Claudia Huckle’s Suzuki and Michael Druiett’s Bonze are the best of a variable supporting cast.
-The Financial Times, Richard Fairman

A Midsummer Night's Dream, Glyndebourne Festival, 2016

What luxury to have Claudia Huckle for the cameo role of Hippolyta
- What's on stage, Mark Valencia

Claudia Huckle’s rich-voiced Hippolyta made more than most of her sketchily conceived role.
The Sunday Times, Hugh Canning

There was also a richly regal Hippolyta from Claudia Huckle.
- Bachtrack, Mark Pullinger

He is finely contrasted with Michael Sumuel’s gentlemanly Theseus, the arrogance in that couple definitely coming from Claudia Huckle’s elegantly phrased Hippolyta.
- Music OMH, Melanie Eskenazi

Der Ring des Nibelungen, Opera North, 2016

The women are no less magnificent, from Claudia Huckle's mysterious earth goddess Erda through a hair-raising team of Valkyries (.......)
-What's on Stage, Mark Valencia

Another highlight is Claudia Huckle as Erda. She looks young – eternal youth, forever renewed. She also sounds mature, imbued with the deep knowledge of the world and its history. Sheer vocal beauty.
-Professor Phillip Kitcher, Opera North blog

A luxurious line-up of valkyries was assembled, among whom the thrilling steely tones of Katherine Broderick shone brightest, along with Claudia Huckle's gorgeously rich-toned Schwertleite.
-Mark Pullinger, Bachtrack

Maxwell Davies' The Hogboon, London Symphony Orchestra, 2016

....the good witch (creamy contralto Claudia Huckle)...
Helen Wallace, The Arts Desk

Claudia Huckle’s flamboyant Good Witch
George Hall, The Guardian

Oedipe, Royal Opera House, 2016

Claudia Huckle's interesting performance as a psychoanalyst Mérope was one of the vocal highlights, musically rich and warm.
-Opera Magazine, John Allison

But this proved a suitable format for the discourse between Oedipe and his adoptive mother, Mérope, sung here with controlled elegance by Claudia Huckle.
-Opera Brittania, Gavin Dixon

Claudia Huckle has the right warmth for anxious adoptive mother Merope, to whom Oedipus confesses his fears on the Freudian couch(.....)
-The Arts Desk, David Nice

(.....)contralto Claudia Huckle sang the role with richness.
- Opera Today, Claire Seymour

The opera involves a large cast of principals and Sarah Connolly as Jocaste, Sophie Bevan as Antigone, Samuel Youn as Créon, Alan Oke as the Shepherd, In Sung Sim as Phorbas, Claudia Huckle as Mérope and Marie-Nicole Lemieux as the Sphinx all stand out.
-Opera Online, Sam Smith

Glagolitic Mass, Edinburgh International Festival, 2014

( ........)the rich alto voice of Claudia Huckle added depth and warmth.
-, Alan Coady

Janacek's Glagolithic Mass formed the second half of the almost sold-out concert, with more stunning voices at the front, particularly from soprano Hibla Gerzmava and Heldentenor Simon O'Neil. Jan Martinik and Claudia Huckle had far less to do, but added to the glorious total.
- The Herald

(......)a well-matched succulent quartet of soloists(....)
- The Scotsman, Ken Walton

The chorus and soloists (Hibla Gerzmava, Claudia Huckle, Simon O'Neill, Jan Martiník) went for operatic scale and drama(....)
- The Guardian, Kate Molleson

The Edinburgh Festival Chorus, the BBC Scottish Symphony Orchestra, organist Thomas Trotter and the four soloists were all heroically exultant(....)
- The Telegraph, Ivan Hewett

Soprano Hibla Gerzmava and tenor Simon O’Neill led an impressive cast of soloists.
- The Arts Desk, Christopher Lambton

Khovanshchina, Birmingham Opera Company, 2014

Most striking of all was the young contralto Claudia Huckle as Marfa, battered between religious and political forces. Mussorgsky gives her a substantial role and Huckle accomplished it magnificently: genuine, graceful and touching- hers is one of the richest, most beautiful contralto voices I've heard in years.
- Opera Now

But the best of these inventions is certainly the contralto, Marfa, whom Mussorgsky saw as a complex, sexually motivated thirty-something, but who is usually played as a frumpish matron with no more than the embarrassing memory of a glad eye. Claudia Huckle’s reading of this role brings it to life for the first time in my experience. She makes Marfa both physically attractive and believably a hysteric, without over-playing, but with superb vocal sonority and control. She even – with a lot of help from Hannah Mason – manages to give her strictly irrelevant scene with fellow Old Believer Susanna some dramatic point, though the lesbian implications perhaps raise more problems than they solve.
-The Arts Desk, Stephen Walsh

The fast-rising British contralto Claudia Huckle was brave and intelligent as the strange, schismatic Marfa.
-The Observer, Fiona Maddocks

It’s the singers’ intensity and veracity that count – qualities exemplified by Claudia Huckle’s sensuous, impassioned Marfa.
- The Financial Times, Andrew Clark

The opera is notably well sung : (. . .) Claudia Huckle's Marfa - Andrei's discarded lover - is a lush-toned siren.
-The Sunday Times, Hugh Canning

....musical standards and the quality of individual performances are both extraordinarily high(.......)Best of all are Keel Watson as a bold messianic Dosifei, leader of the ultra-conservative, anti-abortion, anti-gay True Believers, and Claudia Huckle as his daughter Marfa, whose unswerving love for Andrei Khovansky provides the emotional heart to what can be an intimidatingly unsparing work.
-The Guardian, Andrew Clements

The star of the evening, apart from Laird’s uplifting chorus and Stuart Stratford’s wonderful, brass-enriched CBSO, was prizewinning young contralto Claudia Huckle. What a voice: rich, ringing, poignant – a sound one would travel miles to hear; Khovanskygate’s true soul. Hers is a performance to treasure for a long time to come.
- Exeunt Magazine, Roderic Dunnett

Claudia Huckle sang with absolute conviction as Marfa.
-Opera Magazine, Hugo Shirley

(.....)the singers perform remarkably as they cavort around the arena. Outstanding in the team are Paul Nilon as the bribed journalist, Eric Greene as the conservative Khovansky, Jeffrey Lloyd Roberts as his liberal opponent, Keel Watson as Dosifei, a born-again Patriarch, and, especially, Claudia Huckle as Marfa, his tormented daughter.
-Birmingham Post, Christopher Morley

The whole cast is memorable, impressive, whether genuine or bogus reformers, reactionaries, or even — for Musorgsky was shrewd enough to include a kind of love interest — both desperately sexually needy and devout, in the form of Marfa, finely sung by Claudia Huckle.
-The Spectator, Michael Tanner

The Rape of Lucretia, Glyndebourne Tour, 2013

Behind Claudia Huckle's compelling Lucretia one really can sense the distant presence of Kathleen Ferrier, the great contralto for whom this role was written; Huckle's performance is finely judged, with its climax all the more thought-provoking for being understated - this Lucretia's post-rape 'shame' is existential.
-The Independent, Michael Church

Huckle, infinitely vulnerable, unflinchingly registers Lucretia's agony.
-The Guardian, Tim Ashley

And Shaw draws magnificent performances from a mostly young cast...Claudia Huckle’s deeply touching and vulnerable Lucretia....
-The Telegraph, Rupert Christiansen

Claudia Huckle’s Lucretia holds darkness and light in equipoise in her mobile contralto.
-The Times, Hilary Finch

Claudia Huckle's Lucretia, impossibly moving.....
-New Statesman, Alexandra Coghlan

.....delicately vulnerable Lucretia (the beautifully dark-toned contralto Claudia Huckle) horrified and disgusted at her violation.
-The Observer, Stephen Pritchard

......her velvety dark voice enfolding her lines in beauty...
-Financial Times, Andrew Clark

Claudia Huckle as Lucretia, with a wonderfully rich but clear contralto.
-The Times Literary Supplement, Guy Dammann

Claudia Huckle gave us a very noble and dignified Lucretia and she seemed to retain the sense of dignity even after the climactic rape. Like Kathleen Ferrier for whom the part was written, she has a wonderfully rich and highly coloured contralto voice and she was able to inject considerable dramatic power into the proceedings when required particularly in the second Act.
-Seen and Heard International, Robert Beattie

The singers are close to ideal, every one of them. There's no bargain-basement casting for this tour; it's an A-list ensemble of exceptional quality, and everyone's exemplary diction makes the surtitles quite unnecessary(.......)Claudia Huckle's vulnerable, shift-clad Lucretia....
-What's On Stage, Mark Valencia

Claudia Huckle sings Lucretia with passion and grace.
-The Stage, Edward Bhesania

Claudia Huckle's voice makes for a sensual Lucretia.
-The Big Issue, Rosenna East

Claudia Huckle is a stylish Lucretia
-The Mail on Sunday, David Mellor

........she produced an intense and affecting performance. She acted with intelligence and commitment. A voice that initially embodied lightness and composure, transmuted after her violation to darker tones conveying vulnerability and self-castigation. Her confession was rich, mobile and expressive, her exposure unveiling a troubling guilt as Tarquinius’s desire became her crime. Huckle’s Lucretia is no artificial idol; rather she is a real, flesh-and-blood woman, shocked and destroyed by her own unbidden passions.
-Opera Today, Claire Seymour

Hänsel und Gretel, Garsington Opera, 2013

But the stand-out vocal performance came from her stage brother, Claudia Huckle as Hänsel. Huckle absolutely nailed the part, singing with a strong, very well-focused contralto and projecting both her stage and her vocal personality with apparent ease. I do not know if she was this good earlier in the run – I caught the last performance, not only of the production but of the Garsington season – but this was outstanding, truly impressive singing. She is someone to be watched.
- Musical criticism, Mike Reynolds

The vocal ingredients here are particularly good.......Anna Devin and Claudia Huckle are note-perfect and a near ideal match: Devin's sharp-witted Gretel complements Huckle's convincingly boyish Hansel, whose elegant contralto sets off the charm of her stage-sister's pristine soprano.
- The Guardian, George Hall

And the central performances are exceptionally strong. Claudia Huckle and Anna Devin play very convincingly off each other as Hansel and Gretel, with Devin’s delicately-shaded soprano complemented by Huckle’s sumptuous contralto.
-The Independent, Michael Church

Garsington can be proud of their Hansel and Gretel, which enshrines several performances as good as I have encountered at both Covent Garden and the Met. Claudia Huckle and Anna Devin are outstanding. Both are young, and this so helps their riveting portrayals of Hansel and Gretel as engaging but clumsily gawky pre-teens.
- The Mail on Sunday, David Mellor

Pack tissues if you’re going, for an Evening Prayer more exquisite than that sung by Anna Devin (Gretel) and Claudia Huckle (Hänsel) is hard to imagine.
- The Independent on Sunday. Anna Picard

Such a strong production needs first rate singers, and there was not one weakness in the cast. Claudia Huckle has a truly beautiful contralto voice, exceptionally opulent and even throughout the range, and her Hänsel was the most credible I’ve seen; it helps that she’s elfin and looks about twelve, but it was her lively, engaging acting which made her character rounded. She will sing the title part in the Glyndebourne Tour’s Rape of Lucretia– definitely one to see.
- Music OMH, Melanie Eskenazi

Martin André's orchestra is dazzling, as are the performances of Claudia Huckle and Anna Devin in the title roles and the talented chorus of children.
- Wall Street Journal, Paul Levy.

Devin and Huckle made a believable Hansel and Gretel, recognizably childish in their personalities and certainly not good. Sometimes the action of act one can seem a little awkward and arch, but here Fuchs developed a fine naturalistic relationship between Devin and Huckle. Huckle made one of the most believable boyish Hänsels I have seen in a long time and Devin was certainly no cute, goody two-shoes Gretel. The set pieces were well sung and the two singers were well balanced, and gave completely engaging performances. Unlike some performances, acts one and two positively flew by.
- Opera Today, Robert Hugill

Claudia Huckle's Hänsel and Anna Devin's Gretel offer no less remarkable performances. Huckle's Dennis the Menace-style strutting, face-pulling Hänsel grows into the brave soldier denoted by the costume he is given by the Witch. Wide-eyed Devin constantly analyses the women around her, eventually facing her own womanhood and the threat of the 'awfully big adventure' with aplomb. Superb diction, Devin's nimble tone and Huckle's touchingly lustrous contralto provide appealing catalysts to the tale.
- Entartete Musik

Hänsel and Gretel proved to be an indomitable pair, dressed as an old-fashioned cosy ideal of German children, all wholesome pigtails, smocks and lederhosen. Claudia Huckle’s rich, supple contralto was a great pleasure, and her movements and mannerisms gave Hänsel an appealing authenticity.
- Classical Source, Peter Reed

Claudia Huckle and Anna Devin interact and sing superbly as Hansel and Gretel, with Devin’s bright, light soprano voice playing off Huckle’s warm contralto. Huckle has an expressive face too, making it plain Hansel may be hungry, but he has not lost his boyish high spirits.
- Oxford Times

Claudia Huckle and Anna Devin both put in outstanding performances as the leading pair. From their perfectly believable childish dancing in the first scene to their sincere terror when figures in creepy animal masks prowl at night, they capture the sense of helplessness that face two babes lost in the woods.......Huckle as Hansel was appropriately boyish in her mannerisms – surely an achievement given the way this trouser role struggles against a libretto that keeps emphasising Hansel’s budding masculinity. Huckle’s contralto voice gave us beautifully rich tones......
- Bachtrack

The stars, contralto Claudia Huckle as Hansel and soprano Anna Devin as Gretel are mesmeric, tossing recriminations and fun at each other ....
- Bucks Free Press - Liz Collins

Zelenka, I Penitenti al Sepolcro del Redentore, Freiburger Barockorchester, 2013

Claudia Huckles Magdelena, die ihre weiche Alt-Fülle differenziert nutzt

Claudia Huckle's Magdalena used her smooth, abundant contralto with subtlety....
- Badische Zeitung, Heinz W. Koch

Handel Messiah, Birmingham Symphony Hall, 2012

Claudia Huckle’s “He was despised” conveyed the drama of the Passion but her warm and creamy mezzo-soprano was a vocal balm as well.
- Birmingham Post, Norman Stinchcombe.

Anna Bolena, Washington National Opera, 2012

Claudia Huckle’s plummy contralto and beautifully shaded phrasing are matched by refined acting in the trouser role of Smeton, the queen’s page.
- Baltimore Sun, Tim Smith

.......Claudia Huckle, offering some dusky, lyrical singing as the page Smeton......
- Washington Post, Anne Midgette

In addition to Radvanovsky, contralto Claudia Huckle, as Smeton, is a quiet standout....
- Washington City Paper, Mike Paarlberg

Throw into the mix the wonderful Claudia Huckle as Smeton—a so-called “pants” part in that she plays a young boy, a court singer smitten with Anna who ends up betraying her.....
- The Georgetowner, Gary Tischler

As Smeton, Anna's young admirer, contralto Claudia Huckle convinces in this trouser role, bringing much presence and restraint. Rich as whipped cream, she sings with wistful beauty.
- Metro Weekly, Kate Wingfield

....Claudia Huckle tender and convincing as Smeton.....
- Washingtonian, Sudip Bose

Claudia Huckles, with her pleasing contralto, plays Smeton,the “breeches” part, with a good sense of the young boy musician who carries a flame for Anna.....
- DC Theatre scene, Susan Galbraith

Claudia Huckle is excellent as Smeton, the page who loves Anna.
- Washington Examiner, Barbara Mackay

Claudia Huckle, a convincingly boyish Smeton, used her plummy contralto with exceptional sensitivity.
Opera News, Tim Smith

Claudia Huckle was impressive in the trousers role of the hapless page Smeton.
- The Associated Press, Mike Silverman

With some of the best little set pieces in the opera, Claudia Huckle, a former Domingo-Cafritz artist, had an excellent turn as Smeton, Anne's court musician.
- Ionarts, Charles T. Downey

Mahler Rückert Lieder, RSNO, St Magnus Festival, 2012

Claudia Huckle may have been a last-minute replacement for Catherine Wyn-Rogers in Mahler’s Ruckert Lieder, but the rapt intensity she imbued in the centrally-placed Um Mitternacht was the pinnacle of a truly enchanting performance.
- The Scotsman

Eugene Onegin, English National Opera, 2011

Claudia Huckle's Olga is a complete success: sweet, uncomprehending and beautifully sung, with real Slavonic contralto timbre.
- The Times

Claudia Huckle is the fruity-sounding Olga
- The Guardian

The whole of the Larin household is cast from strength, especially Claudia Huckle as Olga and Catherine Wyn-Rogers as Filipyevna.
- The Financial Times

A big hit: Audun Iversen as Onegin and Claudia Huckle as Olga in 'Eugene Onegin'
- The Daily Telegraph

Claudia Huckle’s thrilling, full contralto made Olga a more-than-usually effective foil to Tatyana.
- Classical Source

Claudia Huckle was a lively, impassioned Olga.
- Opera Today

Claudia Huckle's Olga is beautifully detailed, every wrinkle of her pretty nose expressive of the younger sister's temperament.
- The Independent

Claudia Huckle charmed as Olga.
- The Observer

There are fine contributions from the British contralto Claudia Huckle, as Tatyana’s giddy, bewildered sister, Olga (...)
- The Sunday Times

Diana Montague's finely etched Madame Larina, Catherine Wyn-Rogers's maternal Filippyevna and Claudia Huckle's deep-toned Olga deserve honorable mentions.
- Opera News

The secondary roles, though, are uniformly superb. Kudos to Claudia Huckle as Olga, Diana Montague as Larina, Catherine Wyn-Rogers as Nanya, Adrian Thompson as M. Triquet and Brindley Sherratt as Gremin.
- The Wall Street Journal

Claudia Huckle’s Olga, with a darkly focused mezzo, was nicely distinctive, too.
- Opera magazine

Claudia Huckle’s inimitably dark-hued mezzo made her an alluring Olga.
-BBC Music Magazine

Claudia Huckle’s Olga was rich, well defined and wonderfully acted, perhaps not as flirtatious as other Olgas but I sense this was somewhat on purpose. I loved her performance and was drawn to her glowing presence throughout the opera.
-Spears WMS Magazine

Claudia Huckle makes her mark as Olga.
- What's on stage

The Mikado, English National Opera, 2011

Sophie is well assisted by Claudia Huckle's Pitti-Sing. A genuine old fashioned contralto, Huckle is a real discovery; English born and American trained and currently based at the Leipzig Opera, she is a talent to be encouraged.
-The Mail on Sunday

Claudia Huckle (Pitti-Sing) possesses a very distinctive, dark-hued contralto with a luscious, velvety timbre; her short solo in “Braid the raven hair” really showed off her richness and evenness of tone.
-Opera Britannia

This is also a vintage cast. (....) Claudia Huckle's creamy contralto Pitti-Sing provides articulate assistance.
-The Guardian

Claudia Huckle provided much tonal variety and colour in the role of Pitti-Sing
- Musical Criticism

Claudia Huckle was more at home in the role of Pitti-Sing: her contralto is clear and bright, and she acted the dialogue entertainingly.
- Opera Today

Fiona Canfield (Peep-Bo) and Claudia Huckle (Pitti-Sing) complete a delicious and irresistible trio. Claudia Huckle made particularly charming work of trying to deceive the Mikado.
-The Public Reviews.blogspot

I look forward to hearing the impressive contralto of Claudia Huckle (Pitti-Sing) in a bigger role.
- The Classical source

Claudia Huckle’s colourful and warm mezzo-soprano, combined with punchy and well-delivered dialogue, added deep interest to the role of Pitti-Sing.
- Music OMH

Claudia Huckle’s deep rich voice is a joy.
- Global News Box

There has surely never been a better all-round cast. (....) and Claudia Huckle a rich voiced Pitti-Sing.
- The Londonist

The curtain then rises on the late Stefanos Lazaridis’ celebrated cream-and-white hotel lounge and on one of the strongest casts this production has seen; from Alfie Boe’s kiss-curled Nanki-Poo to Claudia Huckle’s smoky-voiced Pitti-Sing, the performances are top-drawer.
- Whats on stage

Hänsel und Gretel, Leipzig Oper 2010

Trotzdem überwiegt auch gesanglich bei weitem das Positive. Viktorija Kaminskaite und Claudia Huckle setzen nicht auf Kindchencharme, sondern setzen die Kraft ihrer grossen Stimmen ein. Und überfrachten damit dennoch nicht den natürlichen Charme der Linie. Vor allem aber sind sie im Doppel schwer zu toppen. Wie sie aufeinander hören und reagieren, ihre Farben abstimmen, inhaltlich wie musikalisch gestalten, ist weit mehr noch als die Summe der Einzelleistungen. Und so schön, so warmherzig und berührend hat der Abendsegen in Leipzig schon lange nicht mehr geklungen."

Victorija Kaminskaite and Claudia Huckle do not rely on the charm of the children but rather use the power of their big voices, without overpowering the natural charm of the line. Most importantly it would be very hard to top them as a pair. The way they listen to each other and react, blend their colours, shape the storyline and music, surpasses the sum of the individual performances. The Evening Prayer has not been heard sounding so beautiful, so warmhearted and touching for a long time in Leipzig.
- Leipziger Volkszeitung

"Die Sänger? Allesamt vorzüglich. Viktorija Kaminskaite als Gretel, Claudia Huckle als Hänsel – eigentlich ein Traumpaar."

The Singers? Everyone was superb. Viktorija Kaminskaite as Gretel and Claudia Huckle as Hansel - a dream pair.
- Kreuzer- Leipzig Magazine

The Duchess of Malfi, English National Opera, 2010

Corralled into a massive, red-draped hall, we witness a lurid frenzy that is half S&M porn (violent, visceral choreography by Maxine Doyle) and half Catholic kitsch. There the Duchess (Claudia Huckle, sexy and brilliant) is taunted by her leering brothers (Andrew Watts and Freddie Tong, both suitably grotesque) then hanged, upside down.
- The Times

…Claudia Huckle suffers splendidly as the Duchess, her rich contralto untroubled whether flung about (courtesy of Ms Doyle) or strung up by the ankles.
- What's On Stage

I think I saw and heard five or six of the opera’s nine scenes(......) and I did – later rather than sooner – encounter the Duchess (the impressive contralto of Claudia Huckle) in a blackened room.
-The Independent

When you catch up with the singers, there are some extraordinary voices. Claudia Huckle, a wonderful contralto with a huge great controlled voice.
- Night Waves (BBC Radio 3) Susan Hitch

Now congregated in a large warehouse space, thick with church incense and surrounded by long red curtains, the audience play witness to the pleas of Claudia Huckle’s compelling duchess, and her ritualistic murder, before the curtains part for a final, chilling coup de théâtre.
-The Financial Times

As the Duchess, Claudia Huckle sings seductively, powerful yet doomed.
- The Observer

Claudia Huckle is compelling and convincing as the Duchess of Malfi.
- BBC News website

Claudia Huckle as the Duchess deserves a medal for being asked to strip to her underwear and dangle upside-down from a chain after her death.
-The Guardian

This final scene was, at least, of those that I saw, by far the most effective dramatically and musically. This was partly because of the glorious Wagnerian textures emerging in the vocal and orchestral writing, partly because the length of the scene and the fact that one heard it from start to finish allowed time to absorb more of the musical qualities, and partly because of simply being close to the wonderful, rich, vibrant singing of Richard Burkhard and Claudia Huckle in the heart-wrenching ending, where she accepts her death with dignity and earns the assassin’s respect.
- Opera Britannia

The central and astonishingly challenging role of the Duchess was taken magnificently by Claudia Huckle. This was a major step for this extremely talented young singer. And what courage she showed. The things singers are prepared to do these days are unbelievable.
- Brian Dickie blogspot

Claudia Huckle, Andrew Watts and Freddie Tong were superlative singers, singing beautifully sometimes just inches away from audience members!
- The Front Row (BBC Radio 4) Helen Wallace

(.....) harp and marimbas accompanied the mesmerising mezzo Claudia Huckle, who played the Duchess.
- BBC Music Magazine

The main singers – Claudia Huckle as the Duchess, countertenor Andrew Watts on unearthly form as the Duchess’s twin brother and Freddie Tong as the cardinal – were all excellent
- Classical Source

I wheeled around to see Claudia Huckle’s mellifluously voiced yet vulnerable Duchess coaxing her steward to bed.
- The Evening Standard

Torsten Rasch’s opulent score… ekes out the tension, particularly in the grand finale. It is impressively handled by contralto Claudia Huckle, counter-tenor Andrew Watts and the orchestra of the ENO.
- Time Out

Carmen, Leipzig Oper, 2009

Lediglich Anett Fritsch und Claudia Huckle als Carmen-Vertraute können gute Figur machen"

Only Anett Fritsch and Claudia Huckle as Carmen's trusted friends came over well.
- Georg-Friedrich Kühn, Deutschlandradio Kultur

"Weitere Höhepunkte: Anett Fritsch (Frasquita) und Claudia Huckle (Mercédès). Sie blitzen mit ihren herrlich ausdrucksstarken Stimmen wie lupenreine Diamanten."

Further high points: Anett Fritsch (Frasquita) and Claudia Huckle (Mercédès). They dazzled with their wonderfully expressive voices like perfectly pure diamonds.
- Dr Andreas Gerth, Operapoint

Tamerlano, Washington National Opera 2008

Mr Domingo, this company's general director, surrounded himself with worthy accomplices. (......) In the smaller roles Claudia Huckle, as Irene, was a forceful presence with a beautiful tone.
- Allan Kozinn, The New York Times

Claudia Huckle prêtant à Irene un mezzo aussi sombre qu’agile et une remarquable présence scénique.

Claudia Huckle lends to Irene a mezzo as dark as it is agile, and a remarkable stage presence.
- Opéra Magazine (Paris)

As the clever but much-put-upon Irene, would-be queen of Tamerlano, Claudia Huckle, a Domingo-Cafritz Young Artist, continues to demonstrate that she has a most promising future.
-T.L Ponick, The Washington Times

Domingo is surrounded by a stellar cast. (....) Claudia Huckle and Andrew Foster-Williams excel in smaller roles.
- George Loomis, The Financial Times

Claudia Huckle sang smoothly and vividly as Irene.
- Tim Smith, Opera News

Claudia Huckle, her Irene wittily styled as a high-maintenance shipping heiress a la Christina Onassis, showed a fine, agile dark mezzo and striking presence. A shame not to hear more of her arias (...... )
- David Shengold, Gay City News

Mezzo-soprano Claudia Huckle as Irene, Tamerlano's official betrothed, brings much verve and humor to her role and sings with a pleasurable confidence. Like Daniels, she tends to 'rock out' to the particularly demanding vocal moments which is a tad distracting but no doubt all part of bringing the Beyonce out of the baroque.
- Kate Wingfield, Metro Weekly

On her part, Huckle, in the role of Irene, revealed that she did not resent Tamerlano, singing the melismas of her aria to perfection.
-La Oferta

Claudia Huckle was the sturdy, dynamic Irene.
- Tim Smith, Opera

Handel's Messiah, National Symphony Orchestra, Kennedy Center

Claudia Huckle has a ..... mezzo-soprano voice that she employed with deft empathy (a strong "He was despised,".......
- Tim Page, The Washington Post

Otello, Washington Concert Opera, 2007

Talented young mezzo-soprano Claudia Huckle proved an interesting choice as Desdemona's friend Emilia. With her rich, substantial, yet occasionally overpowering voice, she made the most of her moments onstage, singing equally well as a soloist and in the ensembles. Hers is a huge, well-supported instrument, and graduation to larger dramatic roles may be close at hand.
- Washington Times

Mezzo-soprano Claudia Huckle made an intense and touching Emilia
- Washington Post, Tim Page

It was Ms. Futral who stole the evening along with her opening sequence with the Emilia of Claudia Huckle, a warm full mezzo in the Wash Natl Opera Young Artist Program. It was a shame Ms. Huckle did not get an aria.

Salome, Santa Fe Opera, 2006

Claudia Huckle's Page was touching; it would be a pleasure to hear her in a larger role that allowed her to sing more.
- Musical America

This year, two gifted mezzo-sopranos familiar to Boston appeared in featured roles: Paula Murrihy was the comical Second Lady in Mozart’s Die Zauberflöte (“The Magic Flute”) and Claudia Huckle the sympathetic Page in Strauss’s Salome.
- The Boston Phoenix

Mozart Requiem, Monteverdi Choir USA and European Tour, 2006

The one exception was mezzo-soprano Claudia Huckle, whose full-bodied, piercing contributions to the Requiem soared above the crowd.
- San Francisco Chronicle, Joshua Kosman

Mezzo-soprano Claudia Huckle was a shock, her voice almost overwhelmingly full and dusky. Listening to the "Benedictus' as the Requiem neared its conclusion was like being sung to death by a pair of sirens, Huckle and soprano Elin Manahan Thomas.
- The Mercury News, Richard Scheinin

Here it was the mezzo soprano, Claudia Huckle, who surpassed, her tone rich, her phrasing smooth and easy.
- San Francisco classical voice, Robert P. Commanday

Mezzo-soprano Claudia Huckle, tenor Andrew MacKenzie-Wicks and bass Matthew Brook -- came from the choir's ranks and sang with beauty and clarity.
- Contra Costa Times, Georgia Rowe

Claudia Huckle (in the Requiem) offered a sumptuously chocolately mezzo of the sort in which one could positively bathe.

The Little Prince, Boston Lyric Opera, 2005

Claudia Huckle brings a voice like a ripe plum to the Fox.
-The Boston Globe, Richard Dyer

Rich-voiced and lithe mezzo-soprano Claudia Huckle made a splendid Fox.
-The Boston Phoenix, Lloyd Schwartz

If every Fox had the exquisitely rich and beautiful mezzo-soprano of Claudia Huckle, people would stop hunting and just sit down on a log to listen to her.
-WBUR’s Online Arts Magazine, Mark Kroll

Others in the uniformly excellent cast included Claudia Huckle.
-The Boston Herald, T. J. Medrek

La Calisto, New England Conservatory Opera Theater, 2004

The most sumptuous voice last night was that of alto Claudia Huckle leading off the allegorical prologue.

- The Boston Globe, Richard Dyer