Lee Bisset is revelatory, her rich and luminous sound ideally suited to Wagner, and always compelling.
— Rian Evans, The Guardian

Sieglinde, Ring Cycle, Opera North

Lee Bisset, whose unforced vocal range and committed characterisation produced the most all-round compelling Sieglinde I have heard since the great Helga Lernesch.
(Martin Kettle, The Guardian)

LeeBisset’s ravishing soprano blazed beautifully.  “Schläfst du, Gast?” she whispered to him, dwelling on the opening consonants - and every spine in the house tingled in anticipation.
(Martin Dreyer, Opera Magazine)

Lee Bisset’s Sieglinde, sung with thrilling abandon and acted with urgent emotional directness, … a revelation.
(Hugo Shirley, Financial Times)

Lee Bisset's Sieglinde was sublime, every emotion etched on her face and imparting a truly radiant “O hehrstes Wunder!”. Her soprano has plenty of blade, yet retains incredible beauty, even at full tilt.
(Mark Pullinger, Bachtrack)

Bisset moved from strength to strength and her singing in Acts 2 and Act 3 was electrifying – this was absolutely sensational singing.  Having listened to this opera for many years this is one of the best performances I have heard.
(Robert Beattie, Seen and Heard International)

Lee Bisset is transcendent
(Clare Colvin, The Express)

Siegmund’s love for his sister-bride was palpable. And how could it not be, given so fine a performance as we heard from Lee Bisset? For me, she was the star of the show: no mere victim, but a woman with agency, however much circumstances - and bourgeois society -might have repressed her. I cannot instantly recall a more compleat Sieglinde ‘in the flesh’, perhaps because I have not heard one. 
(Mark Berry, Opera Today)

 

Minnie, La fanciulla del West, Opera Omaha

Prayer

Bisset’s soaring voice was mesmerizing as she sang of her desire to find a love like her parents had and her elation once she found it.
(Bestie Freeman, Omaha World Herald)

 

Tristan und Isolde, Longborough Festival

Scottish soprano Lee Bisset was as good an Isolde as I have seen, showing us rich and unflagging vocals, a commanding stage presence, sensitive expression and acting, and (above all!) seemingly endless stamina.  This is a role that is beyond the reach of most sopranos, and I’m sure that if any casting professionals saw her tonight, she will be in demand to perform it all over the world.
(Ted Marr, The Wagner Society Website)

Lee Bisset’s Isolde was quite exceptional.  Lee Bisset has a voice born for Wagner, even if it is possibly a size too big for Longborough.  She was totally believable in her emotional journey from the fury and rage over Tristan’s perceived deceit in Act I, through the ecstasy of Act II, to end with her Liebestod over Tristan’s dead body.  Throughout she rode the orchestra with effortless power, despite being heavily pregnant - that fact alone made her convincing and compelling performance even more remarkable.
(Jim Pritchard, Seen and Heard International)

 

Jenůfa, Scottish Opera

The music soars when Lee Bisset’s generous-voiced and warm-hearted Jenůfa pours out her love for her baby ... and rises heroically to her moral (and vocal) challenge.
(The Sunday Times, Hugh Canning)

Lee Bisset’s Jenůfa - stylishly sung, and acted with refreshing honesty - made a sympathetic centrepiece, giving the Scottish soprano a deserved triumph on home territory.
(Opera Magazine, Andrew Clark)

The cast is compelling.  Lee Bisset’s Jenůfa is dignified, earthy and powerfully sung.
(The Guardian, Kate Mollison)

Bisset, herself 6 months pregnant and putting body and soul into her performance, has a generous pliant voice and an ability to play high drama with cool naturalism.  She showed her character’s confusion, pain, resignation and acceptance without ever overstating.
(The Observer, Fiona Maddocks)

 

 

Senta, Der fliegende Hollander, Mexico City

The night, however, belonged to the soprano in the role of Senta, for the creation of a character believably entranced to love by the Dutchman even to the point of sacrificing her life to redeem the wandering stranger.
(El Universal)

His partner, the Scottish Lee Bisset, sang the role of Senta; a dramatic soprano with a  graceful figure and enviable stage presence, a very pleasant voice and enviable volume. 
(Mauricio Rabago Palafox, Proceso)

 

Fidelio, Dorset Opera

Lee Bisset was a convincing Leonore, full-bodied and red-blooded in voice and character.
(Brian Robins, Opera Magazine)

 

Tosca, Longborough Festival

Not only does she act well, she sings with a passionate radiance of tone that is as thrilling as one could wish, and she knows how to make her soft singing just as seductive, without losing any clarity of diction.  Her “Vissi d’arte” showed rare control.
(Michael Kennedy, Opera Magazine)

Musically there are thrills aplenty. Bisset’s soaring soprano inhabits the full gamut of the role’s expressive possibilities: she has fabulous power at the top of her considerable range and her beauty of tone carries her from flirtation to fury, desire to despair.  (Jessica Duchen, the Independent)

An extraordinarily sensitive performance from Lee Bisset as Tosca, her body-language so subtle (anyone not concentrating on her face will have missed so much), her vocal delivery rich, confiding, cajoling and magisterial, right to its splendour at her eventual suicide.
(Christopher Morley, Birmingham Post)

 

Dritte Norn Götterdämmerung Opera North

Gotterdammerung

The Norns and the three Rhinemaidens...were resplendent: I can’t help singling out Lee Bisset’s phenomenal Third Norn.
(Michael Tanner, the Spectator)

 

 

 

 

 

 

Sieglinde, Ring Cycle, Longborough Festival

Performance of the night: soprano Lee Bisset sang and acted as if she was Sieglinde incarnate.  She inhabited the role with all her being.
(Opera Now, Year in review)

... the radiant Sieglinde of Lee Bisset, a touching, loyal and courageous portrayal of the most human character in the trilogy. (Opera Magazine)

Lee Bisset proved a complex and unforgettable Sieglinde, devastating in her final utterance of the ‘redemption’ theme.
(The Independent)

 

Eugene Onegin, Opera Project

Given a voice of the calibre and beauty of Lee Bisset’s in the role of Tatyana, the absence of fancy accoutrements would not have mattered anyway.  Now that Bisset has entered the realms of Wagner, it remains to be seen how much longer her Tatyana can last, so this was a performance to be savoured as she brought that mix of girlishness and the headlong passion of first love into her body language as well as into her musical interpretation.  The tone is full and creamy, yet the voice is so flexible as to make light of the technical demands, and her expressivity in the final scene was heart-rending.
(Opera Magazine, January)

 

Katya Kabanova, Longborough Festival

Lee Bisset’s wonderful portrayal of Katya, meanwhile, should ensure her entrée into any opera house in the world where this work is being performed.  Not since Elena Prokina in 1994 have I experienced the role performed with such overwhelming erotic ecstasy in the singing combined with dramatic intensity.  Bisset’s tone is thrilling, accurate and colourfully varied in all registers.  She brought tears to the eyes with her childhood remembrances and confession.
(Michael Kennedy Opera Magazine)

Lee Bisset takes touching advantage of this clarity and austerity of approach ... it’s a highly expressive instrument, intelligently used.  She controls Katya’s violent changes of mood beautifully: ... disturbingly radiant in recounting her dreams to Varvara.
(The Arts Desk)

Bisset is excruciatingly credible in the part, her body-language so perceptive ... her delivery of Janacek’s unceasingly taxing vocal lines almost cathartic in its unflinching determination as she goes to her suicide.
(The Birmingham Post)

 

Tosca, Opera Memphis

The choice of the lead performers turns out to have been inspired.  Lee Bisset, making her American debut, was amazing as Tosca.  She was terrifically expressive, easily handling the demands of the role and supercharging the narrative with her passion. (Jon Sparks, Go Memphis)

 

Sieglinde, Die Walküre, Teatro Municipal, São Paolo

... Outra surpresa foi o soprano Lee Bisset, sua Sieglinde tem voz quente, dequalidade superior, dramática , ora forte , ora leve e delicada. Tudo de acordo com as necessidades do momento. Belos dotes cênicos.
[Another surprise was the Soprano Lee Bisset. The rich vocal quality that she brought to her Sieglinde was not only dramatic and strong, but also light and delicate when necessary. She has great stage presence.]
(Ali Hassan Ayache, Movimento.com)

Lee Bisset (Sieglinde), soprano escocesa, vive seu personagem com distinção, apesar de alguns floreios que antecipa a vontade de vê-la em uma ópera de Verdi, brilha com sua voz e presença.[Lee Bisset (Sieglinde), Scottish soprano, brings her role to life with distinction, .... which only makes you want to see her in a Verdi opera. She shines both vocally and dramatically.](Blogdepercia.blogspot.com and Bow Art International)

 

Tosca, Dorset Opera Festival

I haven’t seen many Toscas that were so convincing and absorbing...With a strong, steady voice, plenty of temperament, but also a sly sense of humour in the few places that permit it, she will surely soon be in the world’s leading opera houses.
(Michael Tanner, The Spectator)

Barstow’s superbly controlled and detailed production was hugely impressive from every angle.  Lee Bisset...was a pert and beautifully focussed heroine ...  Altogether these were performances that, even allowing for the small auditorium and good acoustic, wouldn’t be out of place at Covent Garden.
(Simon Thomas, Whatsonstage.com)

Tosca went like a bomb.  The three principals were all completely into and on top of their parts.  .... Graziani must be about to hit the big time.  So, I’d have thought, must be the Tosca, Lee Bisset, Longborough’s superb, uninhibited Sieglinde last year, and so much more thrilling than many singers we regularly encounter in London.  
(Opera Magazine)

 

Sieglinde, Die Walküre, Longborough Festival

Lee Bisset is a revelation as Sieglinde.  Ardent in voice, as strong in her exultant final outburst as in her rapturous Act 1 love scene, she alone seems totally on top of her role’s vocal and dramatic challenges.
(Richard Morrison, The Times)

Key to the evening’s success is the passion of the incestuous lovers, twins Siegmund and Sieglinde.... Lee Bisset is revelatory, her rich and luminous sound ideally suited to Wagner and always compelling.
(Rian Evans, The Guardian)

Negus’ conducting here was inspired, but so were the acting and singing of Andrew Rees ....... and of Lee Bisset, whose passionate, vulnerable Sieglinde should ensure that she is soon on the international circuit.
(Michael Tanner, The Spectator)

Act 1 fielded a radiant Sieglinde from Lee Bisset.  Her voice had the power for a house twice the size, and she used its passion to moving effect.  She was a good actor, too, generating considerable electricity with her brother/lover Siegmund.
(Peter Reed, Sunday Telegraph)

For Lee Bisset and Andrew Rees, as Sieglinde and Siegmund   ........   it was a gift, their mutual discoveries playing out with an intimacy and naturalism rarely permitted on an opera stage.  Bisset was a revelation, her mesmerising voice fired by a passion and vitality that were overwhelming. 
(Nicola Christie, The Independent)

But the outstanding feature is the singing, which would earn plaudits in a larger house.  The “star” is the soprano Lee Bisset, whose Sieglinde was a characterisation of considerable power and lyric grace, the text clearly projected.  Her ardour in the love music and her thrilling final delivery of the theme, not to be heard again until the end of the last opera, were only two highlights of a notable interpretation.
(Michael Kennedy, Opera Magazine)

 

Tosca, Northern Ireland Opera

We were fortunate in this respect to have Lee Bisset.... delivering a commanding and sometimes dramatically strident Tosca when viewed close-up like this, but whose powerful voice nonetheless carried all the emotional cry-to-whisper dynamic of a character whose range encompasses lightning switches between jealousy over the model for Cavaradossi’s painting, to love and compassion for the torture he endures while incarcerated, right through to murderous vengeance on the man who would abuse her.  Bisset not only made the full force of those verismo emotions felt, she made them credible.
(Opera Journal)

 

Mimì, La Bohème, English National Opera

Lee Bisset really shone as Mimi, in a totally committed portrayal progressing from shyly flirtatious, through doubt and despair, to reconciliation and death.
(Serena Fenwick, Musical Pointers)

 

Sublimation, Five:15, Scottish Opera

A tale of submerged memory, this powerful piece was exquisitely played by Lee Bisset as the haunted heroine.......  A dark, truly haunting piece, it was the most fully realised of the evening.
(TVBomb)