The Opera Holland Park Chorus and children from the Cardinal Vaughan Memorial School need a special mention. Their roles are crucial not just for general atmosphere and reinforcement of mood shifts, but also because of the amount of stage movement they need to embody during the orchestral interludes, which ensure continual visual as well as aural interest and stimulation. The singers and those who trained them contributed powerful to the overall success of the production.’ Hansel and Gretel: Humperdinck, Opera Holland Park.

https://britishtheatre.com/review-hansel-and-gretel-opera-holland-park/

‘The eight chorus members had a lot to do, singing at the end but acting and dancing throughout, forming the backbone of the evening in a way that was deftly done, never pulling focus.’ Hansel and Gretel: Humperdinck, Opera Holland Park.

https://operatoday.com/2023/06/hansel-gretel-opera-holland-park-young-artists/

‘…eagerly took their chances to shine, as did members of the Opera Holland Park Chorus and a children’s chorus from the Cardinal Vaughan Memorial School. Above all, this was a collaborative and sustainable performance.’ Hansel and Gretel: Humperdinck, Opera Holland Park.

https://seenandheard-international.com/2023/06/opera-holland-parks-hansel-und-gretel-is-a-lovely-yet-not-too-lovely-evening/

‘I must also signal out for praise Tabitha Reynolds (mezzo) and Fiona Travers (flute) whose combined voices in '“O rest in the Lord” expressed the music perfectly.’ - Guernsey Choral and Orchestral Society, Mendelssohn’s Elijah, St James Church, Mike Sproule.

'Special mention for soprano Alexandra Oomens as the princess torn from her storybook (and dressed to look like Iolanta; a nice touch), soprano Lina Dambrauskaite as a spectacularly vibrant fire, and mezzo Tabitha Reynolds, whose appearance as the naughty boy’s mother was all too brief.’- L’Enfant et les sortilèges: Ravel, The Royal Academy of Music, Back Track. https://bachtrack.com/review-iolanta-enfant-sortileges-royal-academy-opera-london-march-2019

‘Tabitha Reynolds firm but warm Maman was only ever seen on the fringe of the stage, a deliberately shadowy figure.’- L’Enfant et les sortilèges: Ravel, The Royal Academy of Music, Planet Hugill. https://www.planethugill.com/2019/03/late-romantic-journeys-opera-by-ravel.html?fbclid=IwAR0oipk_9p0qK79KPLAkWX_3OcRPSHDKpx35_98k7crvjYmjSVpF5vYV2co

‘The young Mezzo Soprano, Tabitha Reynolds, brought real depth to her performance with a rich tone and passion.' -Sussex Chorus Handel’s Messiah, St Bartholomew’s Church, Brighton. 

'The Chorus, which makes a short, but resounding contribution towards the end of the opera, blew me away.' - Ariodante, The Royal Academy of Music, Bach Track.

'The four soloists were very capable of performing in the operatic style of this work. Soprano, Laura Ruhi-Vidal; Mezzo-Soprano, Tabitha Reynolds; Tenor, Michael Jones and Bass, David Ireland all gave excellent performances in their solos and ensembles.' - Sussex Chorus Rossini Petite Messe Solennelle, Hurstpierpoint College Chapel.

'A fine performance of Mozart’s Requiem Mass, accompanied by the very able Kent Sinfonia in the second half was matched by four excellent soloists whose admirable blend in the Recordare was a particular joy to hear...Tabitha Reynolds’ rendition of Mendelssohn’s O rest in the Lord was well received.'- Sussex Chorus, In Remembrance, Kings Church.

‘four top-drawer soloists… All four were so technically assured as to make light of all the melismatic writing in the Handel arias… Tabitha Reynolds’ warm and full alto.’- Sussex Chorus Handel’s Messiah, The Kings Church.