"Rosamund Illing was a riveting Donna Anna. There was no hint of E.T.A. Hoffmann's proposition that Anna had in fact been seduced by Giovanni and preferred him to her fiance, Don Ottavio. Illing's Anna was a woman possessed. Repelled at her attempted seduction and bereft at the loss of her father, she pursued the denunciation of her attacker and her father's murderer with a palpable fury; a sort of operatic equivalent of Zoe Caldwell in Medea. She is in her prime, revealing an extraordinary voice, and singing with technical ease and great beauty of tone."
Peter Burch, The Australian (April 1997)

"The gunmetal brilliance of Rosamund Illing's Donna Anna eclipsed all else."
Opera News (July 1997)

"Most striking ... was Rosamund Illing as Donna Anna. For once Or sai chi l'onore sounded as strong and as declaratory as it should, for it is the fulcrum on which the whole opera turns."
Jim Davidson, The Age (April 1997)

"That fine Mozartian power-house Rosamund Illing lacks the manner and stature to be a wholly convincing Donna Anna. ... But with a voice like hers, filled with pain, rage and love in Anna's two great arias -- this production's high points -- that hardly matters.
Neil Jillett, Sunday Age (April 1997)