Ellen Orford, Peter Grimes, Opera North
“The widowed schoolmistress who fights Grimes’ corner, was played with passion by Rachel Hynes” – Gavin Engelbrecht, Northern Echo

Denise, The Knot Garden, BBCSO
“The tortured freedom fighter, both grotesque and ecstatic, became almost the centre of the action, thanks to Rachel Hynes” – Michael Tanner, The Spectator

Denise, The Knot Garden, Scottish Opera
“Denise is sung with intensity by Rachel Hynes, looking strikingly like Josephine Barstow (the original Denise) but even more identified with the role” – Michael Tanner, The Spectator

“Rachel Hynes as Denise, the freedom fighter…is outstanding in her stratospherically high arias” – Frank Carroll, Sunday Herald

“The most truthful character portrayal is possibly Rachel Hynes’s tortured Denise – a tour de force of dignity, pain, with terrific singing” – Felicity Hammond, The Metro

“Rachel Hynes…fearlessly triumphs in some of the opera’s most challenging and ecstatic music” – Kenneth Walton, The Scotsman

“Rachel Hynes is a forceful Denise” – Michael Kennedy, The Sunday Telegraph

“the disfigured campaigner Denise (impressively sung by Rachel Hynes)…” – Paul Driver, The Sunday Times

“Denise (strongly sung by Rachel Hynes)” – Andrew Clements, The Guardian

Mimi, La Bohème, Scottish Opera 
“So we have in Rachel Hynes a Mimi who can still break our hearts and sing with melting sweetness”- Conrad Wilson, The Herald

“Rachel Hynes is a desperately touching Mimi” – Andrew Clements, The Guardian

Rachel Hynes…projected a cheeky charm, sparkling and flirting and tilting her jeans-clad hips” – Raymond Monelle, Opera

“Rachel Hynes’s affecting Mimi” – Anthony Holden, The Observer

“Rachel Hynes’ clear-eyed Mimi deploys a vibrant soprano” – David Blewitt, The Stage

The Ring Cycle, Scottish Opera
“Freia…in Rachel Hynes’s brilliant portrayal…” – Conrad Wilson, The Herald

“…Rachel Hynes’s effervescent Freia” – Kenneth Walton, The Scotsman

“And there were many other fine portrayals: Rachel Hynes as a physical Freia” – Raymond Monelle, The Independent

“Rachel Hynes contributed an anxious & feisty Freia” – Alexander Campbell, Classicalsource.com

Götterdämmerung, Scottish Opera
“…Rachel Hynes’s bright dramatic soprano” – Alexander Campell, Classicalsource.com

“The three Norns (Leah Marian Jones, Jane Irwin and Rachel Hynes), uncanny sooth-saying maidenladies…wonderfully watchable – and a musical treat” – Kenneth Speirs, Daily Mail

“…dazzling singing from the women playing Norns..” – Michael Tumelty, The Herald

“…an impressive trio of Norns” – Rupert Christiansen, The Daily Telegraph

“..Norn’s – coached by the veteran British Brünnhilde Anne Evans – would grace any theatre today”- Hugh Canning, The Sunday Times

The Magic Flute, Scottish Opera
“The sexy, hip-wiggling Three Ladies tittered and wisecracked…Rachel Hynes’s soprano shone brightly” –Raymond Monelle, Opera

Orfeo ed Euridice, Scottish Opera
“Rachel Hynes as Euridice sounded bright and gleaming” – Raymond Monelle, Opera

“..Rachel Hynes, a company principal being nurtured by Scottish Opera, was marvellously confident as Euridice…Her voice was strong and most elegant” – Kenneth Speirs, Daily Mail

“Resident principal Rachel Hynes, though, is tremendously amiable and sweet-voiced as Euridice” – Andrew Burnet, Sunday Herald

“There’s no such lack of definition about Rachel Hynes’s voice as Euridice…there is a delightful sparkle to her tone” – Edinburgh Evening News

Maria Stuarda, Edinburgh International Festival
“Passionately and beautifully sung by Rachel Hynes. Hynes is a very talented performer… ” – Neil Jones, Opera Now

L’Elisir d’amore, Scottish Opera 
“…Rachel’s Hynes’s delectable Giannetta – a minor role that can go for nothing, On the strength of her scene in act two, she is someone to watch” – Conrad Wilson, The Herald

“Rachel Hynes is a wonderfully catty Giannetta” – Alison Freebairn, The Stage

Das Rheingold, Scottish Opera
“Rachel Hynes is a radiant Freia” – Richard Fairman, Financial Times

“Rachel Hynes is a glorious Freia” – Christopher Bowen, Scotland on Sunday

“Rachel Hynes is a superb Freia” – Kenneth Walton, The Scotsman

“Rachel Hynes’s bright, touching Freia” – Fiona Maddocks, The Observer

“…the Freia, Rachel Hynes, manages to look like the goddess of youth and beauty as well as move with a rapid poise and sing with white heat” – Raymond Monelle, The Independent

“it’s an evening filled with fascinating niceties – not least from Rachel Hynes’s passionate Freia” – Conrad Wilson, The Herald

Cosi fan Tutte
“Rachel Hynes as Fiordiligi was wonderfully active and effortlessly clear, particularly when in defence of her rock-like constancy just before she begins to crumble” – Alexander Bryce, The Scotsman

Caregiver, The Lion’s Face, The Opera Group
“Rachel Hynes makes a suitably sympathetic care-assistant (better than many I’ve encountered)” – Michael White, The Telegraph

“…there are fine supporting performances from… Rachel Hynes as the so-called Caregiver” – Stephen Walsh, The Arts Desk

The Figure, Songbird, Giant Productions
“…the story tells of a lovely, vulnerable songbird,…whose rainforest is destroyed by fire when a towering female figure of western commerce, fabulously embodied by soprano Rachel Hynes, comes to clear the land” – Joyce Macmillian, The Scotsman.

“Composer David Paul Jones’s distinctive style of evocative soundscapes is superbly vocalised by Rachel Hynes…” – Mary Brennan, The Herald