“Kirsty Hopkins’ lovely rendition of The Plaint”
Richard Morrison, The Times (The Fairy Queen: The Wishes, Orchestra of the Age of Enlightenment, Queen Elizabeth Hall)

“As the humans, Kirsty Hopkins and Timothy Dickinson were charmingly awkward in their would-be romance, their voices matched strikingly with Hopkins’ bright upper register moving lightly over Dickinson’s silky bass. Hopkins’ “O let me weep”, in particular, was carefully ornamented and touching.”
Bachtrack (The Fairy Queen: The Wishes, Orchestra of the Age of Enlightenment, Queen Elizabeth Hall)

“as the First and Second Witch, Kirsty Hopkins and Katy Hill enjoy the mischief-making and choreographed ‘routines’ with an animated tomfoolery matched by the gusto of the choric ‘ho, ho, ho’s”
Opera Today (Purcell Dido & Aeneas dir. Harry Christophers, The Grange Festival)

“Kirsty Hopkins and Katy Hill made gleeful, hyperactive witches, eager minions for Charlston's Sorceress to command.”
PlanelHugill (Purcell Dido & Aeneas dir. Harry Christophers, The Grange Festival)

"Soprano Kirsty Hopkins, most true in timbre, is very touching in the setting of Christina Rossetti’s ‘Song of Mary Magdalene’, her gorgeous voice endearingly caressing Goodall’s lovely new setting of ‘When I survey the wondrous Cross’"
Gramophone Magazine (Howard Goodall Invictus: A Passion, Recording, Christchurch Choir Oxford dir. Stephen Darlington)

"Superb"
PlanetHugill (Howard Goodall Invictus: A Passion, Recording, Christchurch Choir Oxford dir. Stephen Darlington)

"Outstanding"
Andrew Benson-Wilson Arts Blog, (Howard Goodall Invictus: A Passion, St John's Smith Square)

"Gibbons's silver swan can rarely have had her "silent throat" unlocked more sweetly than by Kirsty Hopkins's top notes"
The Times, Richard Morrison (I Fagiolini, Wigmore Hall)

"tenor Joshua Ellicott unfailingly carries the narrative with standout performances also coming as Jesus is sentenced to death on the cross, from Kirsty Hopkins’ soprano and Alexandra Jakeman’s flute on the Aus Liebe will mein Heiland sterben aria"
The Stage (The Passion, The Sixteen & Streetwise Opera, cond. Harry Christophers, dir. Penny Woolcock)

"stealing the show was Kirsty Hopkins, her Ruth a peroxided, anguished victim, noble ultimately as she delivered her poignantly sung farewell"
Birmingham Post (Entanglement, Charlotte Bray & Amy Rosenthal, George Vass/Nova Music Opera, Presteigne Music Festival)

"Kirsty Hopkins's concentrated, eerily beautiful performance"
theartsdesk.com (Entanglement, Charlotte Bray & Amy Rosenthal, George Vass/Nova Music Opera, Presteigne Music Festival)

"Centre stage was Hopkins as Ruth.  She offered a gripping, multi-layered performance suggesting vulnerability, steely determination and instability in equal measure"
Opera Magazine, (Entanglement, Charlotte Bray & Amy Rosenthal, George Vass/Nova Music Opera, Cheltenham Music Festival)

"a challenging, thoughtful and well-sung evening...Kirsty Hopkins commanded attention as the peroxide-blonde Ellis, steely and needy, implying an impassive and obsessive nature alongside moments of maternal behaviour"
The Guardian, Rian Evans (Entanglement, Charlotte Bray & Amy Rosenthal, George Vass/Nova Music Opera, Cheltenham Music Festival)

"Kirsty Hopkins's lovely performance of the Peruvian girl Orazia's love song to the Mexican warrior Moctezuma ('They tell us that your mighty powers above') reminds us that it ranks among Purcell's most rapturous operatic creations"
Gramophone Magazine, David Vickers (Indian Queen, Purcell recording, Harry Christophers & The Sixteen)

"a strongly expressive performance"
The Scotsman (Hagar in the Wilderness, Sally Beamish, George Vass/Nova Music, St Andrews)

 "Kirsty Hopkins's clear-toned and affecting Hagar"
The Times **** (Hagar in the Wilderness, Sally Beamish, George Vass/Nova Music, Presteigne Festival)

"The first work, Labyrinth of Love, was visually and orally superb as 14 dancers joined soprano Kirsty Hopkins on stage.  Having a world-class singer perform live while dancers dart to and fro around you is a difficult task to pull off, but Kirsty made it look effortless.  Inspired by love poems prose of well-known seven women, it was a dynamic and powerful performance, not least because of Kirsty's wonderful voice."
Press and Journal (Labyrinth of Love, Paul Hoskins/Rambert Dance Company, Eden Court, Inverness)

"Kirsty Hopkins, soprano, sings words written by or about women and love spanning the last two and a half millenia.  She also moves, and decorously dances, sometimes partnered.  It's a glorious voice, a bravura performance; and yet completely integrated into the whole... The choreography, and the company's delivery of it, throughout this work is as good as anything you're likely to see this year and enchants everyone within earshot of this reviewer's seat".
Northings (Labyrinth of Love, Paul Hoskins/Rambert Dance Company, Eden Court, Inverness)

"In Brighton last night as part of their acclaimed Labyrinth of Love tour, the four piece repertoire show included some stunning perofrmances by the highly trained Rambert Dancers, a live orchestra and soloist Kirsty...Hopkins rendered the lyrics with her superb voice, and sometimes playful manner, never just a static vocalist, but often becoming part of the dance routines...The audience were entranced throughout"
guide2brighton (Labyrinth of Love, Paul Hoskins/Rambert Dance Company, Brighton Theatre Royal)