"Donna Lennard sang marvellously – with exemplary enunciation, fearless technique, vivid word-painting and palpable commitment. In short, she was magnetic."
Colin Anderson, Classical Source (Natural History with the KSO, 2016)
"Donna Lennard sings a succulent, carnivorous aria to meat"
Judith Mackrell, The Guardian (May Contain Food, 2016)
"See soprano Donna Lennard singing about five bird roasts and maple cured bacon with lascivious melisma"
Lyndsey Winship, The Evening Standard (May Contain Food, 2016)
"Louise Sofield and Donna Lennard were outstanding as promenading vocalists who also danced and waited on tables"
Graham Watts, DanceTabs (May Contain Food, 2016)
"Of the numbers, Agnes' arietta, a prayer "O Agnes, martyr fair" is the opera's main theme and provides a thread that repeatedly weaves in and out of the overture. The theme is particularly attractive and was sung endearingly by Donna Lennard who projected the character of Agnes particularly well throughout the performance and soared effortlessly in her legato phrases."
Raymond J Walker, Seen and Heard (Raymond and Agnes, 2015)
"Soprano Donna Lennard and baritone Henry Manning excelled in musically and dramatically demanding roles"
Paul Conway, Musical Opinion Quarterly (Airborne, 2014)
"...Lennard's light, expressive soprano..."
Anna Picard, The Times (Airborne, 2014)
“There is a sublime moment when the catfish sings a prayer – ‘Sanctus’ – while resigning herself to her fate, her pretty voice barely a whisper over the strings’ rippling accompaniment.”
Francesca Wickers, Fringe Opera (The Catfish Conundrum, 2014)
"If the Serenade caused many heads to turn it was outdone by the next item, which featured English National Opera soprano Donna Lennard in the florid and demanding Exsultate, Jubilate. Her power and accuracy were a match for the music and carried amazingly well in the enormous space."
Chris Balaam, Craven Herald (Skipton Building Society Camerata, Leeds Railway Station, 2014)
"[Donna] is an intriguing and versatile performer, able to move seamlessly between genres and a consummate actress"
Miranda Jackson, Opera Britannia (How the Whale Became, 2013)
"Perhaps yet more notable were Donna Lennard, whose development as Frog through the evening was charismatic … At the opening Lennard appeared curiously diminutive, although always graceful, but as her character gained in ambition and guile her voice adopted a bright confidence, not least during the vocal gymnastics as Frog loses its identity – think Su Pollard meets Lucia de Lammermoor. And if this wasn't enough, it appears that Lennard can also play the tin whistle while wearing rubber gloves."
Edward Lewis, Classical Source (How the Whale Became, 2013)
"Soprano Donna Leonard [sic], another ROH debutante, sings the role of the Frog very characterfully and possesses real stage presence"
Colin Clarke, Seen and Heard (How the Whale Became, 2014)
“...Soprano Donna Lennard taking the lead in the track after the spoken opening dedications. It’s the warm strings, sighing their way through the movement alongside Lennard’s stunning performance that drag the emotion out of it as it gradually becomes more intricate, denser and crucially, beautiful.”
Backseat Mafia (‘Movement V – Park Benches’, An Anthology of All Things, Johnny Parry, 2012)
"...the sparkling operatic soprano Donna Lennard"
Modern Art Oxford (Performance with Johnny Parry, 2011)