'…The cast reacted skilfully to the awesome comedic challenge… In the Ravel, it was the one female role - Michelle Foster's sex mad Concepcion - that stood out. Her male entourage, though assured in their roles, found moments of difficulty in projecting over the lavish orchestral wash.'


Kenneth Walton, The Scotsman, Jan 2007


 '…The cast was uniformly excellent. Michelle Foster was bewitching, infuriating, and spontaneous as Concepcion, with a pleasing Soubrettish soprano… Again, Lloyd Evans made it all work like... Well, clockwork.'


Raymond Monelle, Opera, April 2007


 'By any yardstick, the performance last night by the players of Academy Symphony Orchestra, which marked the start of a new session of rush hour concerts, was a deeply impressive affair… Only in the Scherzo, which was dragged out, did James Lowe's sense of momentum seem to falter, though it regained stability for Michelle Foster's lovely singing in the gently paced finale.'


 Michael Tumelty, The Herald, March 2007


'There is a thesis to be written on the chronology of Tuesday's recital by teacher and pupil in the Summerfest season… Established mezzo Jane Irwin and her opera school protégé soprano dueted at either end of that time span. No surprise, then, that Fauré's lovely litany of tears, Pleurs d'Or, and the two concluding Britten ballads, were highlights…. Foster's voice - and personal style - seem from an earlier age, and was absolutely at home on a trio of early twentieth century songs by Herbert Howells and Ivor Gurney. This is the sort of unfashionable repertoire Naxos revives and the budget label should sign her up now, so that everyone can hear her way with Gurney's The Fields are Full.'


Keith Bruce, The Herald, 2007