"Among the women, probably the most successful was Prudence Dunstone's breast-clutching, eye-bulging Ulrica, which also came across the orchestral barricade with as little apparent striving as Harris's Count. The invocation that opens her only scene sounded intense and powerful and she made a real meal of her warnings to both Amelia and Ricardo."

(OPERA-OPERA, January 2000)


“Katisha demands a contralto of tremendous power, and Prudence Dunstone, bathed in green light and suitable hideous makeup, was nicely formidable in Act I and the start of Act II, before she revealed a shapely leg after Ko-Ko’s appealing Tit Willow song, and the duet dance of the pair was one of the highlights of the show.”

(THE AUSTRALIAN, August 20, 1999)

 “Prudence Dunstone, a waspish whip-cracking Katisha, sings with a marvelous mezzosoprano replete with dark and solid bottom notes.”

(THE ADVERTISER, August 21, 1999)

 “In the title role of Ariodante, mezzo-soprano Prudence Dunstone gave masculine strength to an assured vocal characterisation”

(THE CANBERRA TIMES, March 12, 1999)

 “Ariodante … a hit that would have delighted Handel himself. The mezzo-soprano Prudence Dunstone sang the title role with considerable aplomb”          

(OPERA, August 1999)

 “The feistiest ever Marcellina from Prudence Dunstone, whose female solidarity manifesto in the last act drew applause”

(THE ADVERTISER, August 25, 1997)

 “Prudence Dunstone as an excellent Marcellina played the parental revelations an Act III with fine comic talent”

(THE AUSTRALIAN, August 25, 1997) 

“Olga—Prudence Dunstone, girlish, charming, adorable …”

(OPERA, March 1997)

 “Almost as important to get right are Lensky and Olga, and this pair were also strongly cast and excellently sung by Gregory Tomlinson … and Prudence Dunstone, a singer who gets steadily better and surer of herself with each role she plays.”

(THE AUSTRALIAN, October 28, 1996)

 “The wide range of Prudence Dunstone won respect for her Rossini, Mozart and Saint-Saens arias, especially the much-travelled ‘Softly awakes my Heart’ from ‘Samson et Dalila’ ”


 “Her lovely  voice, creamy and beautifully controlled over the two full octaves of these opulent effusions, carried her serenely through their many technical traps. Always musicianly and intelligent”

(THE ADVERTISER, April 13, 1995)

 “The most impressive vocal soloist of this unnerving night in the company of Sydney Philharmonia was the last minute ring-in, mezzo Prudence Dunstone … whose contribution stood out for its beauty and richness of sound as well as its religious fervor, in a way none of her colleagues could manage”

(OPERA AUSTRALASIA, December 1994)

“Mezzo Prudence Dunstone was impressive in the role of Herodias’ page, displaying a voice which like Edmunds is seemingly unaffected by the treacherous acoustics of the Festival Theatre.”

(OPERA AUSTRALASIA, November 1994)

 “But there was one newcomer, a young soprano called Prudence Dunstone, in the bit part of the Countess Ceprano, another victim of the Duke. She has only a few bars to sing, but with her it was enough to show talent and promise.”

(THE AUSTRALIAN, January 9, 1989)

 “Any young singer who agrees to give a major public recital with only two weeks’ notice needs to be very talented, very game, and very, very well trained. Prudence Dunstone is all three, and proved it abundantly ”

(THE ADVERTISER, April, 1986)

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