McNeff delivers an unpredictable yet instantly appealing score… Andy Rashleigh’s libretto is allusive and witty… All is delivered by catty, horny McCaldin, all with a sheen of barmy. It’s a far better performance than we’re entitled to from someone who can also sing.
★ ★ ★ ★ ★

Kieron Quirke on Vivienne for The Evening Standard

Clare McCaldin performed fantastically… It’s rare that a one-woman show can be so clever and funny without dragging towards the end
★ ★ ★ ★ ☆

Kate Mason on Vivienne for One Stop Arts

the show has great pace and energy… McCaldin Arts have given her a voice
★ ★ ★ ★ ☆

Wendy Thomson on Vivienne for Female Arts

This year Tête à Tête has found a treasure in Vivienne – a monologue-opera for mezzo and piano by Stephen McNeff… The work was elegantly performed by Clare McCaldin and pianist Elizabeth Burgess and deserves a rich concert life after this.

Alexandra Coghlan on Vivienne for The New Statesman (Sept 2013 print edition)

The work is perhaps lighter than McCaldin and McNeff’s previous collaboration, A Voice of One Delight… But McNeff and McCaldin built the piece into a powerful conclusion as we gradually left popular music behind… McCaldin gave a remarkable performance. Remarkable perhaps because in its complete identification with Vivienne and its intensity she made you forget that this was sung at all and the work became simply drama of the most involving kind.

Robert Hugill of Planet Hugill, on Vivienne

This is a powerful disc, and McCaldin demonstrates the wide range and adaptability of her voice across such a broad range of repertoire, but it is in Vivienne that her dramatic abilities are most impressively in evidence.

Nick Boston on Notes from the Asylum in Classical Notes, August 2016

richly sung, richly imaginative
★ ★ ★ ★ ☆

Rebecca Franks on Notes from the Asylum in BBC Music Magazine, July 2016 (August edition)

Clare McCaldin shows how she is able to shape and control her voice to draw so much from each song, following the subtle nuances of each text to deliver the most remarkable performances.

Bruce Reader on Notes from the Asylum in The Classical Reviewer, June 2016

Vivienne is a remarkable tour-de-force, in the flesh the piece is highly theatrical but this new disc does really capture the brilliance of McNeff and Rashleigh’s recapturing of Vivienne Eliott’s point of view. The whole recital puts together an interesting sidelong view on madness, combining both fictional characters and real experience.
★ ★ ★ ★ ☆

Robert Hugill on Notes from the Asylum in Planet Hugill, June 2016