In the Press 

La Boheme - Swansea City Opera 2016

Rebecca Goulden presented a more interesting minx-like Mimi than many a conventional shrinking violet,
Richard Westcott  -

It is always such a difficult job to name names. To pick out the ones for special mention. When the whole cast is golden it’s difficult to judge who glistens most. That said the beauty, the strength and the power of Rebecca Goulden’s  Mimi, was something that one won’t forget in a hurry. If a singer can bring tears of emotion to the eye of this steely reviewer she must be doing something right.
Owen J.Lewis  - loveshrewsbury

There were some particularly good performances. Mimì and Musetta were clearly distinguished. Rebecca Goulden was always sweet-toned but her soprano also had the kind of depth that the role of Mimi needs, and she was a subtle actress.

Rebecca Goulden was an engaging Mimi, her Soprano moving from smoothly from coy ingénue to tender-hearted lover, with excellent control at the top. She is a protégée of Mary Plazas and very much in her mould.
Martin Dreyer – Opera Magazine June 2016

The Apothecary - Bampton Classical Opera 2015

The individual vocal performances, too where of a high standard, with Christopher Tuner offering a richly lyrical, comic account of the gullible Sempronio duped by fellow tenor Daniel Auchincloss’s wily Mengone as they vied for the attention of the Soprano Nathalie Chalkley’s winsome Grilletta in competitive tandem with their joint rival Volpino, skillfully sung by the Soprano Rebecca Goulden
George Hall - Opera Magazine

Faust - Swansea City Opera 2015


Rebecca Goulden as Marguerite … was powerful and tragic as the Fallen Woman gone mad, her redemption in the finale trio, with that beautiful soprano line (Purest Angels, Radiant Angels), set me blubbing.

Mark Tilling - Bridlington Free Press

La Cenerentola - Wexford Opera Festival 2014


Rebecca Goulden (Clorinda) and Kristin Finnigan (Tisbe) gave engaging performances.

Claire Seymour - Opera Today

Confident and well sung stepsisters, played by Rebecca Goulden (Clorinda) and Kristen Finnigan (Tisbe).

Jose M Irurzun -

The Marriage of Figaro - Swansea City Opera 2014 


Rebecca Goulden was an engaging and impish Cherubino, full of meaningful glances and grimaces and she won the audience over.

Gareth Jones - IN SUFFOLK


The singing in the production is of a uniformly high standard, with Rebecca Goulden giving a vivid performance as Cherubino.

David Griffiths - Buzz Magazine Online

The Messiah - Nidderdale 2013


The soprano soloist has a later entry and Rebecca Goulden’s announcement of the shepherds and the angels did not disappoint. In her first aria “Rejoice greatly” she communicated the joy of the nativity with the radiance of her facial expression aswell as her voice. She has a powerful voice but her sensitivity to the music produced a sound of great beauty.

Jill Heyes

The Turn of the Screw - Dartington Opera 2012


The mad and Bloodstained Miss Jessel (Rebecca Goulden), projected with great command, somehow forging a link between the opera and Peter Maxwell-Davis ‘s mad characters in his music theatre pieces. 

Richard Langham Smith – Opera Magazine 

La Boheme - Wexford Opera Festival 2011


From the moment Mimi entered, soprano Rebecca Goulden caught the essence of not just this frail and sickly creature, but also of a young girl on the run, frightened and vulnerable. Hers was a mesmerizing performance, secure vocally and wrenching inexpressive nuance.

Richard B. Beams – Opera Con Brio


As Mimi, English soprano Rebecca Goulden demonstrated a beautifully clear, fresh tone; her Act 1 aria was especially affecting.

Claire Seymour – Opera Today 

2010 - present

2010 - present