Reviews
For the all too devastating visit of La Zia Principessa, Deborah adds full portent and significance to the searing interaction with her irrevocable disgraced niece. Bringing out the darkest hues of her mezzo soprano, Humble arrestingly conjures a villainous woman who is simply acting as she sees best for her family. Dix and Humble create drama in this scene that leaves the audience nothing short of breathless.
Melbourne Opera, Atheneum Theatre, Suor Angelica, Simon Paris, ManInChair
As La Zia Principessa, Deborah Humble provides some quite literally spine-tingling moments…concentrated menace powerfully delivered; emotion at its operatic best.
Melbourne Opera, Atheneum Theatre, Suor Angelica, Heather Leviston, Classic Melbourne
The part of the Wood Dove is a keystone of this work. A singer can make an impression with this solo. Humbles delivery was gripping, as it should be…made the listener want to sit up, even if to receive the daunting news. It was remarkable how Hunble kept up the tension throughout this long, tragic speech.
Sydney Symphony Orchestra, Sydney Opera House, Schoenberg’s Gurrelieder, Gordon Williams, Operawire, March 2024
…rich and creamy mezzo was ideal for the Waldtaube in her long, pivotal aria…brought suitable portentousness to the voice of the Wood Dove…showed she had the power and control to match the score…the dark hued voice of Deborah Humble as the chatty Wood Dove was impressive…
Sydney Symphiny Orchestra, Sydney Opera House, Schenberg’’s Gurrelieder, Limelight, Sydney Mornjng Herald, Sydney Arts Guide, Australian Book Review., March 2024
In Die Walküre Deborah Humble was a knockout as Fricka. The admonishment of her husband was as exercise in operatic acting at its best, and this combined with her strong mezzo voice resulted in a performance that was all class. She brought a similar level of intensity to her Waltraute in Götterdämmerung.
Opera Australia, Lyric Theatre Brisbane, Die Walküre, Michael Sinclair, Opera Critic, December 2024
Deborah Humble’s Fricka was a formidable antagonist to Wotan in Die Walküre and, in Götterdämmerung, Humble gave a scorching account of Waltraute…
Opera Australia, Lyric Theatre Brisbane, Die Walküre, Deborah Jones, Opera UK, February 2024.
Deborah Humble impressed as Wotan’s beleaguered, long suffering wife…in Götterdämmerung her true prowess and colourful range was fully unleashed as Waltraute…
Opera Australia, Lyric Theatre Brisbane, Die Walküre, Gillian Wills, Opera Magazine, February, 2024.
…die bewährte Deborah Humble, lässt mit ihrem ausdrucksvollen und wortdeutlichen Mezzo und schauspielerisch keine Wünsche offen (Fricka)
Opera Australia, Lyric Theatre Brisbane, Das Rheingold, Klaus Billand, Online Merker, December 2023
Deborah Humble sang die Fricka mit ihren kultivierten Mezzo und deiner eindrucksvolle Gestik.
Opera Australia, Lyric Theatre Brisbane, Die Walküre, Klaus Billand, Online Merker, December 2023
Deborah Humble was again impressive as a dignified Fricka, whose relentless logic impels her husband to abandon Siegmund.
Opera Australia, Lyric Theatre Brisbane, Die Walküre, David Larkin, Bachtrack
Humble’s Fricka was outstanding, creating a character of great presence with strong, sustained vocal tone and impeccable diction – every word projected effortlessly into the hall.
Opera Australia, Lyric Theatre Brisbane, Die Walküre, Michael Halliwell, Australian Book Review, December 2023
As Waltraute, Deborah Humble excelled once again and her lengthy narrative was entirely compelling. Having played Fricka earlier in the cycle, she is a contender for the Most Valued Person of multiple characters.
Opera Australia, Lyric Theatre Brisbane, Die Götterdämmerung, David Larkin, Bachtrack, December 2023
Brünnhilde (Lise Lindsrom) greets Waltraute (Deborah Humble) and these two fine voices provide a highlight of the opera.
Opera Australia, Lyric Theatre Brisbane, Die Götterdämmerung, Michael Halliwell, Australian Book Review, December 2023
Deborah Humble captures all the desperation of the Valkyrie Waltraute.
Opera Australia, Lyric Theatre Brisbane, Die Götterdämmerung, Jansson Antmann, December 2023
As the Count’s latest love interest, reliable, rich and velvety mezzo-soprano Deborah Humble caught much attention as elegant tragedienne Clairon.
Victorian Opera, Palais Theatre, Capriccio, Paul Selar, Australian Arts Review, August 2023
Australian mezzo-soprano Deborah Humble made a welcome return to these shores, singing La Cieca, Gioconda’s beloved mother, with richly seasoned, pleading depth.
Opera Australia, Sydney Opera House, La Gioconda, Peter McCallum, Sydney Morning Herald, August 2023
Seldom can La Cieca’s Act 1 aria, ‘Voce di Donna o d’Angelo,’ have been sung with sung elegance.
Opera Australia, Sydney Opera House, La Gioconda, Peter Rose, Australian Book Review, August 2023
La Cieca, luxuriously sung by Deborah Humble, who unearths a wealth of texture and colour from some of Ponchielli’s most gifted writing.’
Opera Australia, Sydney Opera House, La Gioconda, Paul Selar, Arts Hub, August 2023
Deborah Humble’s performance was one to remember. Waltraute’s Monologue and the ensuing duet were sung with lavish tone and excellent colour throughout - low notes darkly despairing and the climactic high notes superb in their resonance and beauty of tone. The vocal splendour and dramatic presence that enabled Humble to encompass both the sinuous dark presence of Erda in Siegfried and the youthful despair of a Valkyrie, distinguish her as a singer of exceptional gifts.
Melbourne Opera, Ulumbarra Theatre, Die Götterdämmerung, Heather Leviston, Classic Melbourne, April 2023
Once again, as in Erda’s brief interdiction in Rheingold and her seismic quarrel with Wotan as Siegfried, Deborah Humble revealed herself to be an artist at the height of her dramatic and vocal powers. Hard it is to recall a more impassioned account of this scene. This was grand singing and acting that shook the house…
Melbourne Opera, Ulumbarra Theatre, Die Götterdämmerung, Jim Pritchard, Seen and Heard International, April 2023
The visit to Brünnhilde by Waltraute, sung by the redoubtable Deborah Humble, is a true highlight of the opera. In an extended monologue, Humble is absolutely compelling, making Waltraute’s story by turns vividly dramatic and emotionally moving.
Melbourne Opera, Ulumbarra Theatre, Die Götterdämmerung, Simon Parris, Man In Chair, April 2023
The deep velvety expanse of vocals that Deborah Humble brought to a wavering and confused Erda in Siegfried, became a luxury addition to Die Götterdämmerung in the role of Waltraute, and, with it, creating one of the great highlights of the cycle.
Melbourne Opera, Ulumbarra Theatre, Ring Cycle, Paul Selar, Arts Review, April 2023
Complete conviction was also to the fore in the extraordinary reappearance of earth mother Erda. Humble unforgettably evoked the cavernous depths of the underworld and the doom to come.
Melbourne Opera, Ulumbarra Theatre, Siegfried, Deborah Jones, Limelight, April 2023
Making a maximum impact with a single scene, Deborah Humble displays exceptional control of the dramatic shades of her sumptuous mezzo soprano.
Melbourne Opera, Ulumbarra Theatre, Siegfried, Simon Parris, Man in Chair, March 2023
Deborah Humble is renowned as a compelling actress with an exciting depth of tone. Dressed in a splendid flowing blue gown, she crossed the front of the stage and issued her warning with all the focused authority of an earth goddess.
Melbourne Opera, Ulumbarra Theatre, Das Rheingold, Heather Leviston, Classic Melbourne, March 2023
Deborah Humble…raising interest levels at the eleventh hour with a finely calibrated, beautifully sung cameo performance as earth mother, Erda.
Melbourne Opera, Ulumbarra Theatre, Das Rheingold, Simon Parris, Man in Chair, March 2023
Deborah Humble is a vastly experienced singer and was a grave, authoritative Erda. Her pronouncements were as portentous as they must be.
Melbourne Opera, Ulumbarra Theatre, Das Rheingold, Jim Pritchard, Seen and Heard International, March 2023
As Erda, Deborah Humble was impressive in her use of the dark lower tones of her rich mezzo soprano and expansive upper register, singing the text with measured assurance.
Melbourne Opera, Melbourne Recital Centre, Siegfried, Heather Leviston, Classic Melbourne, September 2022
Deborah Humble’s beautifully sung Erda was majestic, wise, and utterly convincing.
Melbourne Opera, Melbourne Recital Centre, Siegfried, Michael Shmith, Australian Book Review, September 2022
Conveying the serene majesty of mother earth herself, Deborah Humble brought a calmly focused presence to earth goddess Erda. Humble’s dramatic mezzo soprano voice commanded attention in a finely calibrated performance.
Melbourne Opera, Melbourne Recital Centre. Siegfried, Simon Parris, Man in Chair, September 2022
“Humble’s luscious mezzo soared splendidly in the climactic moments and was singulary expressive in portraying the bizarre behaviour of a murderess plagued by fear and debilitating nightmares. Her command of German underpinned the incisive colouring of Hofmannsthal’s libretto, and she made effective use of the limited space in front of the orchestra to portray Klytamnestra’s agitation. Her performance in the lengthy scene with Foster’s Elektra was spellbinding as she reeled between contemptuous sneers, maniacal laughter, wheedling pleas for help and frantic desperation.”
Victorian Opera, Melbourne Concert Hall, Elektra, Heather Leviston, Classic Melbourne, September 2022
“In an unforgettable and fiercely magnificent performance as Elektra’s nightmare crazed mother, Klytamnestra, mezzo-soprano Deborah Humble’s return to the Melbourne stage was nothing short of breathtaking…Humble digging deep in acting out her character’s wildly intoxicating monstrosity across a chasm of vocal invincibility, dexterity and colour.”
Victorian Opera, Melbourne Concert Hall, Elektra, Paul Selar, Arts Review, September 2022
“Mezzo-soprano Deborah Humble delivered a performance worth bragging about as Klytamnestra. With evocative phrasing and a physicality that pushed the limits of the concert setting, she revealed a woman barely holding onto her position, sanity and life itself.”
Victorian Opera, Melbourne Concert Hall, Elektra, Patricia Maunder, Limelight Magazine, September 2022
“O Mensch! Gib Acht! Deborah Humble sang with suitable gravitas; her rich, dark mezzo perfectly suited to the foreboding tone of the poem, delivered an evocative and brooding rendition.”
Queensland Youth Orchestra, Performing Arts Centre Brisbane, Mahler Symphony No.3, Susannah Conway, Arts Hub, August 2022
“And the existential tussle that occurs between soprano and mezzo in this movement was exquisite, Nicole Car and Deborah Humble forming a perfect timbral pairing.”
Sydney Symphony Orchestra, Sydney Opera House Concert Hall, Mahler Symphony No. 2, Paul Kildea, Australian Book Review, July 2022
“…Humble did a beautiful job, rubato carefully judged, her sound rich, her text beautifully placed.”
Sydney Symphony Orchestra, Sydney Opera House Concert Hall, Mahler Symphony No. 2, Paul Kildea, Australian Book Review, July 2022
“…a marvelous interpretation of Carmen’s famous Habanera, her rich, chocolatey sound note perfect with impeccable acting skills.”
Queensland Symphony Orchestra Opera Gala, Performing Arts Centre Brisbane, Susannah Conway, Limelight Magazine, June 2022
“Of the four vocal soloists, mezzo-soprano Deborah Humble was the standout. Her rich, velvety tone across an extended range echoed Cecilia Bartoli at her best.”
Rossini Petit Messe Solenelle, Melbourne Recital Centre, MSO, Vincent Plush, Limelight Magazine, May 2022
“Deborah Humble impressed as an almost psychotic Waltraute and her encounter with Brünnhilde was a high point of this Götterdämmerung.”
Saffron Opera, Saffron Walden, UK, Jim Pritchard, Seen and Heard International, September 2017, Die Götterdämmerung
“Deborah Humble had a beautiful, smoothly produced mezzo, rather showing up the veteran singers who are so often cast in this role.”
Edinburgh Opera, Opera Scotland Review, October 2017, Klytamnestra, Elektra
“The Mary of Deborah Humble displayed a beautifully coloured vocal timbre and a remarkable sense of ensemble with the chorus of the Opera de Lille.”
Opera de Lille, France, Vincent Guillemin, ResMusica, April 2017, Der Fliegende Holländer
“Deborah Humble, one of the best opera singers to emerge from Adelaide in recent times, effortlessly filled the spacious interior the venue with her magnificently resonant voice. Wagner’s Wesendonck Lieder really took flight. Deborah’s voice, as rich and dark as a great Australian Shiraz, reached into the emotional depths of this music in a commanding and totally engrossing manner.”
Adelaide, Stephen Whittington, The Advertiser, February 2017, Solo Recital
“Deborah Humble, unusually svelte as earth goddess Erda, sang with great refinement and tone that managed to be intelligent, gorgeous and powerful – all at the same time.”
Boston Youth Orchestra, Lee Eiseman, The Boston Musical Intelligencer, April 2015, Siegfried
“The part of Judith calls for a mezzo-soprano with power throughout a wide range and Humble has just that. She is also blessed with an expressive, steady voice of unfailing beauty. Her vocal and physical allure made her an exemplary Judith.”
Monash Academy Orchestra, Heather Leviston, Classic Melbourne, August 2015, Bluebeard’s Castle
“Elegant in a black, sleeveless gown, Humble edged Bluebeard’s fourth wife Judith with strident complexity and magnetic gesticulation. Exhibiting luscious, cavernous dark tones and lucent, gleaming highs, she slithered across the vocals with both dramatic and lyric force, culminating in a piercingly ecstatic display of strength and exuberance as Bluebeard’s vast kingdom is revealed behind the fifth door in a staging highlight. Humble’s manipulative and momentary manic portrayal of Judith’s obsession to learn the truth made a convincing picture of a woman on a mission to redeem the malevolent Bluebeard.”
Monash Academy Orchestra, Paul Selar, aussietheatre, August 2015, Bluebeard’s Castle
“The altos had more individualistic roles and were suitably different in vocal timbre – Humble richly nuanced and beauteous.”
Orchestra of the Music Makers, Singapore, Robert Markow, Der Neue Merker, July 2015, Mahler’s 8th Symphony
“Australian Mezzo-Soprano Deborah Humble has made a reputation as a Wagner singer and it was no wonder that these songs fit her beautifully. Her voice filled out the songs and produced beautiful tones…simply glorious sounds.”
Orchestra Wellington, Peter Mechan, Radio New Zealand, May 2104, Wesendonck Lieder
“It was obvious at once that Deborah’s Wagner credentials were for real: a fine Wagner voice, large enough to cope with the orchestra surrounding her and the acoustic (of St Paul’s Cathedral)…beautiful and fully expressive of the sense of the words…these were the characteristics of Humble’s performance; beautifully phrased, warm and rounded in the lower register, lustrous and spiritual as her lines went high into the soprano range. She invested the songs with a dramatic quality that could be heard as the product of a totally theatrical performer.”
Orchestra Wellington, Lindis Taylor, Classical Music Review, May 2014, Wesendonck Lieder
“A marvellous performance, so beautifully penetrating and radiant in tone.”
Queensland Symphony Orchestra, Brisbane Performing Arts Centre, Martin Buzacott, The Australian, November 2014, Mahler’s 3rd Symphony
“Of the four soloists, my vote went to Deborah Humble, whose voice reminded me so much of Janet Baker.”
Sydney Symphony Orchestra, Fraser Beath McEwing, J-Wire, May 2014, Elijah
“Deborah Humble as Catherine displayed deep and sonorous tones.”
Hamburg Philharmonic Orchestra, Das Opernglas, November 2014, Jean, d’Arc au Bucher
“It might have been enough to hear Humble’s magnificent voice, but there was something irreplaceable about being able to see the words embodied in her anguished poise, and to join the audience’s sharp intake of breath as she sang of the smiters, of shame and spitting. Humble possesses the skill, unornamented flair and vocal presence to simply stand and deliver. Her singing makes you forget where you are.”
Royal Melbourne Philharmonic, Morag Fraser, Australian Book Review, December 2014, Messiah
“Deborah Humble (Alisa), who frequents a repertoire far more onerous than this role, has a first-class voice for its beauty of timbre and volume, deserves special mention.”
Teatro Comunale Mario del Monaco, Treviso, L’ape Musicale, Giovanni Andrea Sechi, September 2014, Lucia di Lamemoor
“Deborah Humble as Erda and Waltraute was magnificent, bringing sibyllic gravitas to the former and a barely contained despairing fury to the latter with a gloriously rich voice.”
Opera Australia, Melbourne, Talk Classical, November 2013, Ring Cycle
“Waltraute was thrillingly sung by Deborah Humble. Her scene with Brunnhilde was one of the highlights of the performance.”
Opera Australia, Melbourne, Michael Magnusson, ArtsHub, November 2013, Die Götterdämmerung
“Deborah Humble’s torturous lamenting near the end of the opera is a highlight.”
Opera Australia, Joel Carnegie, Herald Sun, April, 2013, Amneris, Aida
“…Deborah Humble evoking Elkins and Elms. She brought burnished tone and memorable phrasing to her aria and salon duet with Kuznetsova. These two musical gems gleamed.”
Sydney Symphony Orchestra, Megaphoneoz, December 2012, Pauline, Queen of Spades
“Deborah Humble (Brigitte) proved a most sympathetic housekeeper, her warm, rich mezzo a standout.”
Opera Australia, Sydney, Limelight Magazine, July 2012, Die Tode Stadt
“Deborah Humble is a dream Erda. More convincing singing is hard to imagine.”
Hamburg State Opera, Peter Bilsing, Der Neue Merker, October 2009, Das Rheingold
“Adelaide-raised Deborah Humble, a mezzo of rare power and charm, left a forceful memory of her short appearance way beyond it’s allotted span.”
State Opera of South Australia, Elizabeth Silsbury, December 2007, Ulrica, Un Ballo in Maschera