L'Express, 10th December 2006
Madame Butterfly, Diva Opera NEUCHÂTEL, Switzerland

Melinda Hughes is fully incarnate as Cio-cio-san…..After having seen her on stage, it is impossible to imagine any other artist in this role. She is Butterfly. She passes from anger to forgiveness; presented initially in the sumptuous rigour of her kimono, an impeccable chignon and a soft and subjected capacity, only to become haggard, rebellious and ecstatic through her insane glances and violent gestures. She is always faithful always regal and always true. Her cruel destiny strengthened by the force of Puccini tragic writing, a marriage of art unequalled.

Seen and Heard Opera Review 11 November 2005
Beethoven, Leonore:The Chelsea Opera Group Queen Elizabeth Hall

The Marzelline was soprano Melinda Hughes, who projected the young girl's hopes completely believably. Throughout in fact Hughes' clear tone, excellent pitching and nimble way with lines implied a singer with considerably more experience than her biography would suggest. I believe we will be hearing more of this young lady.
Colin Clarke
Full review at www.musicweb.uk.net...

Sunday Telegraph 18 Jul 2004
Madama Butterfly: Longborough Opera Festival

The greatest, noblest and most tragic of Puccini's crushed heroines was portrayed with dignity and poignancy by Melinda Hughes. She had vocal power in the big climaxes and sustained the emotional impact of Act II without faltering. She also brought subtle control of dynamics to her singing of the text, which she delivered with expressive understanding. Any listener lacking knowledge of a word of Italian would have known what she was singing about in her farewell to her child.
Michael Kennedy

Oxford Times 9th July 2004
Madama Butterfly: Longborough Opera Festival

As Butterfly, the supple Melinda Hughes is quite brilliant. Not only does she sing with a telling compound of freshness and power, she maps Butterfly's decline from that first moment of symbolic glory through the subtlest body and facial signals.
Derek Jole

The Hartford Courant, Connecticut, USA Feb 2003
Madame Butterfly, London City Opera

...soprano Melinda Hughes, whose shining voice had both delicacy and power, and whose slender grace made her a convincing Butterfly...The company... has a first-rate soprano in Hughes, who sang beautifully from the first act's love duet through the second act's longing aria "Un bel di" ("One Fine Day") and the agonized finale in which she stabs herself in a ritual suicide.
Jon Lender

The Times Newspaper 15^th May 2001
La Traviata, Theatre Royal, Brighton

Violetta's destruction was vividly conveyed by Miss Hughes, who sang Dite alla giovine with immense pathos... this became an impressive performance, really sung and acted through and getting to the heart of Violetta.
Robert Thicknesse

The Spectator Magazine 9th Feb 2002
"From Love to Decay" The Jermyn Street Theatre

Her rendition of "Je veux vivre" left me wanting to backstage for the first time in my brief career as a theatre critic.
Toby Young

The Sunday Times (review section) 3rd February 2002
Concert Chelsea Arts Club

Card 3 goes to Melinda Hughes, a young soprano with a voice so clear and pure that it seemed about to shatter the glasses at the Chelsea Arts Club last weekend. With the tenor Daniel Meades she gave us an hour-long run through some of the great arias. She was Violetta, and Mimi, and Gilda, and for an encore she gave us I Want to Be a Prima Donna. Want to? She is.
Godfrey Smith

The Malvern Gazette 3rd August 2001
Rigoletto, Malvern Festival

The most striking actor was Melinda Hughes playing the part of Gilda.
Jon di Paolo

Evening Argus 10th May 2001
La Traviata, Theatre Royal, Brighton

In Melinda Hughes the (European Chamber opera) company has discovered a new star. Melinda played the consumptive courtesan to perfection She was slender and vulnerable, sang like an angel with lots of vibrato and acted her socks off as she spurned her rich lover to flee with Alfredo ...if anyone is saving fallen women for this week, please save this one for me.
Mike Howard

Trouw Newspaper 22/6/98 Holland
"I Pagliacci", Utrecht

The British soprano (trained in Holland) Melinda Hughes, sang Nedda/Colombina with a beautiful lyric sound, with unspoiled top notes and a delicious presence on stage…the long duet was the highlight of the evening
Peter van der Lint

Luzener Zeitung 30/7/98
Switzerland "I pagliacci", Luzerne

Melinda Hughes, Canio’s wife, Nedda played a natural/effortless performance with a light yet undertoned voice, which sparkling and warm hinted towards a fiery temperament.
Urs Buggmann

Harlingen 9/98 concert
Holland

Melinda Hughes who was earlier in Harlingen with Andre Rieu was outstanding with her light arias from Puccini, Mozart and Strauss. Although secure standard repertoire, it was presented with warmth and her sparkling personality and acting was a bonus.
Jacob Haagsma

Aachener Zeitung 25/11/98 concert
Wurselen, Germany

Melinda showed us how talented she is by her convincing ability at assuming the role she is performing…She handled with delicacy the coloratura from the aria "Mein Herr Marquis". With the arias "o mio babbino caro" and "Musetta’s waltz" there was a flash of the utter beauty of her voice