| Concerts |
| Sondheim Concert with the Royal Philharmonic Orhcestra – Cadogan Hall “Mary Carewe sings the magnificent Miller's Song with effortless clarity.” **** Michael Billington, The Guardian, 8 August 2007
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| Bond Concert with Honor Blackman and the Northern Sinfonia – The Sage Gateshead “Singer Mary Carewe stepped into the shoes of Shirley Bassey, Gladys Knight and Tina Turner and belted out show-stoppers such as Diamonds are Forever, Licence to Kill and Goldeneye with great gusto. It would have been easy for Carewe to imitate these three divas, but she managed to bring a fresh approach to many of the old standards. Carewe really shone however during the less familiar songs and her rendition of the most recent Bond theme, Casino Royale’s You Know My Name, was probably her best performance of the night.” Lucy Crossley, The Journal, 27 April 2007
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| Ulster Orchestra – Film Night, Carl Davis, conductor “Soloist Mary Carewe’s voice was very versatile, intoxication with piercing uses of classical vibrato for one minute, a whispering breathy blend of jazz the next. Her rendition during Diamonds Are Forever and Goldfinger in particular received a deservedly rich response from the audience.” Rathcel, North West Telegraph, March 2007
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| BBC Concert Orchestra – Charles Hazlewood, conductor “… the ritzy urbanity of Michael Nyman's L'Orgie Parisienne, with Mary Carewe belting out Rimbaud's text for all she was worth.” Tim Ashley, The Guardian, October 2006
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| Royal Scottish National Orchestra – James Bond, Carl Davis, conductor “Her interpretation was just right and her voice and delivery was superb. She also showed she could mix the power with the peaceful with a lovely Nobody Does It Better, a marvellous song written by Marvin Hamlisch, and the theme from Moonraker.” Garry Fraser, Dundee Courier & Advertiser, January 2006
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| Bridgewater Hall, Manchester, with the Hallé Orchestra “It was great entertainment, too, and one reason for that was Mary Carewe, a vocalist who manages to impersonate Shirley Bassey, Dusty Springfield, Lulu, Carly Simon and Gladys Knight, among others….she's a singer with her own individuality and the versatility to take numbers made famous by others and make them her own.” Manchester Music – 31 December 2004 |
| “…The task of performing material written for artists as diverse as Shirley Bassey, Louis Armstrong, Lulu and Aha fell to the formidable cabaret singer, Mary Carewe. She had fun with the dirty lyrics of The Man with the Golden Gun, and caressed Goldfinger seditiously rather than belting it.”
The Guardian - January 2002 |
| Glasgow Royal Concert Hall, with the Royal Scottish National Orchestra “It required the versatility of singer Mary Carewe to encompass a range of hits sung variously by Shirley Bassey, Nancy Sinatra, Paul McCartney, Lulu and Carly Simon. She did so with unflinching ease… The “wow” factor in these raised the temperature to boiling point.” The Scotsman – 23 June 2004 |
| With Orquesta Pablo Sarasate “No hubo injerencias extrañas entre la amplificacíon de los cantantes y el tutti orquestal. En este sentido la voz de Mary Carewe, así como su estilo, musicalidad y fraseo, fueron cercanos, sin estridencias y entusiasmaron al público” “There was no interference between the amplification of the singers and the orchestra. Therefore, Mary Carewe’s voice, as well as her style, musicality and phrasing, were very clear, with no buzzing, and enthused the audience”. Diario de Noticias – 20 April 2004 |
| With Ulster Orchestra, Waterfront Hall “The question is not whether this music [musicals] is at home in the cultured environment of a classical concert, but whether the performers are at home in the style. Mary Carewe certainly is.” The Irish Times – 29 March 2004 |
| With VIVA Orchestra “Mary Carewe is a true diva of the concert platform, a dynamic servant of text and music. Viva, the East Midlands orchestra, have been celebrating their 21st anniversary in various ways, none more agreeable than this. Solo after gorgeous solo showed each of them in prime form.” Nottingham Evening Post – 16 May 2003 |
| Kammerakademie Potsdam, Berlin, New Year’s Eve Concert “…Mary Carewe… let herself be carried away in delightful irony. Marvellous!” Märkische Allgemeine – 2 January 2002 |
| “The presenter… promised a firework with Cathy Berberian’s ‘Stripsody’. And indeed Mary Carewe offered a show in which comedy, slapstick, voice, and variety performing unite. This was superb…”
Potsdamer Neueste Nachrichten – 3 January 2002 |
| Djanogly Hall, Nottingham, serious cabaret concert “Here was musical comedy reminiscent of the great Cathy Berberian….this splendidly cosmopolitan evening had not much sugar but plenty of spice!” Nottingham Evening Post – 16 February 2001 |
| Royal Festival Hall, with the New York Ballet Stars “…Life Story, very well given by the soprano Mary Carewe and the pianist Philip Mayers.” Financial Times – 9 August 1999 |
| “…with the soprano Mary Carewe making the most of every nuance in Thomas Adès’s setting of a bitter poem by Tennesse Williams.”
The Independent – 7 August 1999 |
| Wigmore Hall, chamber concert “…The soprano is directed to model herself on Billie Holliday, something which Carewe managed with engaging panache.” The Guardian – 22 February 1999 |
| Oxford Festival of Contemporary Music 1998, with the Orchestra of St John’s Ltd “…Dominic Muldowney’s Six Irish Songs were given by the mezzo Mary Carewe – a nonpareil Brecht/Weill interpreter – with vocal panache and a delightful, snappy attack. As the composer said, “a trained voice, but an actor’s perspective.” She was vibrant … and moving…” The Independent – 28 October 1998 |
| Philharmonie, Berlin, serious cabaret concert “…This singer from Great Britain is an all-round talent ….who is increasingly crossing the borders into ‘new’ music….She can trumpet the high soprano notes just as well as the smoky, sharp, erotic notes which are available to her – everything the well brought up classical soprano is not allowed to do.” Der Tagesspiegel, Berlin - 26 July 1998 |
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