Iolanta, Opera Holland Park 2019
"Strong supporting performances from... and Laura Woods"
"An accolade to for Laura Woods as her friend Marta. She has a voice like good claret and plays this role with warmth, dignity and intelligence"
"Laura Woods is directed with considerable perspicacity as Iolanta's companion Marta, and her singing is lovely"
"Laura Woods' Marta was most sincere- exuding a careful lyricism"
Plays To See
Greek, Grimeborn 2018
"As Wife/Sis, Laura Woods' contralto is liquid expressiveness and is enthralling to watch and listen to, especially when she is mourning her slain husband"
Dzifa Benson for BroadwayWorld
"Laura Woods sounded opulent enough for Stravinsky's or Enescu's Jocasta"
"Laura Woods is magnetic as his Wife (and Sis), her mezzo of liquid fullness, her hungry longing for her lost child heartbreaking, their erotic connection thoroughly disturbing."
Charlotte Valori for Theatre Cat
"Laura Woods playing Sis and Eddy’s wife as gloriously voluptuous of figure as of voice."
William Russell for ReviewsGate
"The equally striking Laura Woods"
Mark Valencia for WhatsOnStage
"Laura Woods as Eddy's wife homes in on her music's very welcome humanity and warmth"
Peter Reed for Classical Source
"Edmund Danon’s extraordinary Eddy dominates the stage, wonderfully capturing our antihero’s macho recklessness, his violence and bigotry,his unbridled sexuality. He is perfectly matched by Laura Woods’ Wife, warm, sensual, with a sense of nobility."
Judi Herman for Jewish Renaissance
La traviata, Opera Holland Park 2018
"Laura Woods' dominatrixy Flora, Charne Rochford's vapid Gastone and Nicholas Garrett's arrogant Douphol- are all cast from strength and really register as characters for once"
Tim Ashley for The Guardian
"Laura Woods is a minxy Flora, her voice full of colour and lushness"
"There is strong support from bass Stephen Gadd and from Laura Woods as Flora. The latter has a glorious wine dark voice, effectively an old fashioned contralto, which is a striking contrast to Fagan’s soaring soprano."
"Laura Woods made a striking Flora, with a very lively relationship with the Marchese"
Mad King Suibhne, Bury Court Opera 2017
"For all it's opulence, Laura Woods's mezzo Witch remained clearly defined"
Yehuda Shapiro for Opera Magazine
"Laura Woods made the witch a powerfully grounded and earthy figure"
"Laura Woods as the Witch reveals a highly developed mezzo-soprano"
The Queen of Spades, Opera Holland Park 2016
“Laura Woods's ripe Polina has a chocolatey mezzo to die for”
Neil Fisher for The Times
“Laura Woods showed off a young mezzo of promise as Polina”
The Financial Times
“Laura Woods’s Polina… contributed strongly to the picture”
"Laura Woods... the excellent, rich-voiced Polina"
"Laura Woods an engaging Polina"
“The role of Polina is taken by the fruity-voiced Laura Woods, who can carry melancholy as if to the manner born” Seen and Heard International
“Amongst a strong supporting cast, Laura Woods impressed as Polina.”
"Laura Woods as Polina reveals a beautifully rich and well shaped mezzo-soprano"
“The Queen of Spades is chock full of rewarding small parts… Laura Woods seized those opportunities with both hands, singing splendidly in the mournful aria in Liza’s bedroom as well as the lively Russian folk dance that follows” Opera Britannia
“Polina, (Laura Woods in superb voice), entertains at the engagement party first with appropriately happy songs- but somehow finds herself singing of death and the grave” Arbuturian
“Subsidiary roles such as Laura Woods’s confiding Polina… readily enhance the scenes at hand” Classical Source
“Fine vocal contributions from Laura Woods as Polina”
Mark Ronan Reviews
La Fanciulla Del West, Opera Holland Park 2014
“On the two-strong distaff side Laura Woods sparkled as Wowkle”
“Laura Woods’ Wowkle stood out like a laser beam… She seemed perfectly at home on the stage, but more, her voice and acting combined to deliver pure delight.”
Seen and Heard International
Gianni Schicchi, Opera Holland Park Christine Collins’ Young Artists, 2012
‘Vocally the strongest performances tended to reflect the best dramatic ones. Laura Woods made much of Zita's tirade against the nouveau riche and carried most of the family members with her. The dark colour of her voice was matched by that of her matriarchal costume" Classical Source
Falstaff, Opéra Berbiguières, 2012
“Laura Woods was a very young Quickly, with bags of attitude and a nicely cultured way with music that is often barked by rather decrepit altos.”
The Opera Critic