“Deborah Humble anchored the ensemble with a voice of mahogany richness, her lines shaded with experience and reverence. There was a haunting gravitas to her delivery that made the Lacrimosa ache.”

“…bejewelled by two titans of Australian opera, a draw card in itself. Humble impressed with her dark, cavernous mezzo-soprano and touches of elegant upper register vocal beauty, dispensing notes that dance as if on silken threads.”

“…the biggest moments belong to the mezzo Delilah, and Humble relished them; sensitive, seductive, superb.”

“Humble sang with her customary richness and beauty of tone. Act Two contains some of the most seductive music in all opera. The languorous duet that unfolds was magnificently sung and acted.”

“Deborah Humble was an exceptional Delilah, it was surprising to learn this was her role debut. Her vocals resonated with rich vibrato and she used vocal inflections and tonal variation to effectively convey her character’s storyline.”

“Deborah Humble made her debut as Delilah, and what a debut it was. Her interpretation of one of opera’s greatest mezzo roles was nothing short of phenomenal.”

“…shining among supporting roles, mezzo-soprano Deborah Humble’s jaunty Magdalena is a plush treat.”

“Deborah Humble brought wit and distinction to Magdalena, an often underplayed role… magnificent in the Act 3 quintet.”

“Mezzo-soprano Deborah Humble was youthful, animated and in fine voice. She was a bright presence, adding a joyful note to much of the story. Her contribution to the Act 3 quintet was admirable, her voice providing feminine richness and warmth…”

“…the richly experienced mezzo-soprano Deborah Humble elevates the supporting role of Magdalena with her pristine vocals and sweetly coquettish stage presence.”

“For the all too devastating visit of La Zia Principessa, Deborah adds full portent and significance… bringing out the darkest hues of her mezzo soprano, Humble arrestingly conjures a villainous woman who is simply acting as she sees best for her family.”

“As La Zia Principessa, Deborah Humble provides some quite literally spine-tingling moments… concentrated menace powerfully delivered; emotion at its operatic best.”

“The part of the Wood Dove is a keystone of this work. Humble’s delivery was gripping, as it should be… remarkable how she kept up the tension throughout this long, tragic speech.”

“In Die Walküre Deborah Humble was a knockout as Fricka. The admonishment of her husband was an exercise in operatic acting at its best, and this combined with her strong mezzo voice resulted in a performance that was all class.”

“Deborah Humble’s Fricka was a formidable antagonist to Wotan…”

“In Götterdämmerung, Humble gave a scorching account of Waltraute…”

“Humble’s Fricka was outstanding, creating a character of great presence with strong, sustained vocal tone and impeccable diction, every word projected effortlessly into the hall.”

“As Waltraute, Deborah Humble excelled once again and her lengthy narrative was entirely compelling.”

“As the Count’s latest love interest, reliable, rich and velvety mezzo-soprano Deborah Humble caught much attention as elegant tragedienne Clairon.”

“Australian mezzo-soprano Deborah Humble made a welcome return to these shores, singing La Cieca with richly seasoned, pleading depth.”

“Waltraute’s monologue and the ensuing duet were sung with lavish tone and excellent colour throughout.”

“Complete conviction was also to the fore in the extraordinary reappearance of earth mother Erda. Humble unforgettably evoked the cavernous depths of the underworld and the doom to come.”

“Humble’s luscious mezzo soared splendidly in the climactic moments and was singularly expressive… her performance was spellbinding.”