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“Gertrude Fragments throws focus on Brett Dean’s clear and lyrical text setting… we hear little unorthodoxies or extended techniques in service of the words and a performance from Lotte Betts-Dean that gets through plenty of gears, illumination and psychological probing.”
— Andrew Mellor, Gramophone Magazine
“starkly beautiful ... MacRae wrote the majority of the music on this album especially for Betts-Dean after hearing her perform his The Lif of this World a few years ago, and it’s easy to see why her distinctive, plangent voice and insightful way with text proved such a wellspring of inspiration. ”
— Presto Music Editors Choice
“...Gertrude Fragments for mezzo and guitar are far from mere studies, standing as complete, nay almost perfect, works in themselves. They find the ideal advocates in... mezzo-soprano Lotte Betts-Dean and guitarist Andrey Lebedev...”
— Will Yeoman, Limelight Magazine
“Betts-Dean is utterly compelling throughout, with immaculate diction and a full palette of colours available across her wide range...”
— Katherine Cooper, Presto Music
“Betts-Dean, who has an acute response to the texts, is equally at home in the pastoral wistfulness of Gerald Finzi and Imogen Holst as in the quirky originality of Kerry Andrew”
— Fiona Maddocks, The Guardian
“It was a musical dance around the world with... the UK-based mezzo-soprano Lotte Betts-Dean rousing the rabble with her robust voice and mastery of lingo, singing in seven different languages.”
— Gemma Regan, Limelight
“Lotte Betts-Dean’s performance was powerful and lyrical, exhibiting a masterly control of both vocal range and colour. Shifting timbre from ghostly thin incanting to the wild throes of a full-bodied dramatic mezzo, Betts-Dean’s devoted performance captured all the ecstasy and drama of Messiaen’s poetry with a mature artistry.”
— Andrew Aronowicz on Messiaen's Harawi, Limelight Magazine
“Betts-Dean gave a mesmerising performance...
we were engrossed in not just what she was opining, but her movements and her facial contortions. At times she looked as though she was about to leap into the audience, so manic did she appear.”
— Peter Goodbody on Pierrot Lunaire with Manchester Collective, Getintothis UK
“Her tone was at once pure and thick with power; with expressive gestures flowing from her arms and face, she appeared to place herself entirely and unconditionally into the music.”
— Stephanie Eslake, on Bach at Dark Mofo Festival, Limelight Magazine
“Betts-Dean has an excellent voice; she can control her notes beautifully and she sings with joy, warmth, and an open heart.”
— Therese Saba, on Feb 2019 Wigmore Hall Recital, Classical Guitar Magazine
“Lotte Betts-Dean’s narration (in perfect French) delivered drama in spades.”
— Maxim Boon, on Stravinsky's Persephone with MSO, The Age, July 19