Constance Fenimore Woolson (The Master), Wexford Festival Opera:

Annabella-Vesela Ellis has an earnest charm as Constance in her rich mezzo soprano voice. The ghost of Constance, whose presence is both assertive and haunting, takes him on a journey through his past, and her suicide comes to represent his own inability to fully live. 
– Katy Hayes, Independent.ie

[Translated]
Annabella-Vesela Ellis provides the role of Constance Fenimore Woolson with warm mezzo-soprano and is actually the superior character until the two come to talk about Constance’s mysterious death. Then Constance is finally broken, which is believably portrayed by Ellis.
– Online Muzik Magazin, translated

The role of Constance Fenimore Woolson was expanded from that of a friend, whose unrequited love for James eventually leads to her suicide, to that of a ghost, whose presence frames the entire opera. She was played by mezzo-soprano Annabella-Vesela Ellis, who expertly captured her concerns and love for James with a strongly sung performance. Her recitatives were expressively and clearly sung, enveloped with emotional strength. She moved easily between calm, reflective passages and anxious, strongly accented lines in which she displayed her bright, piercing upper register to good effect.
– Alan Nielson, OperaWire

Scenes in which Henry James converses with the ghost of Constance Fenimore Willson (the Bulgarian-Turkish mezzo-soprano Annabella Vesela Ellis) alternate with varied ensembles scenes and the transitions between them are choreographed with precision and persuasiveness […] both singers show impressive stamina and real engagement with their roles.
– Claire Seymour, Opera Today

 The bulk of the action fell on Henry James and Annabella-Vesela Ellis as Constance Fenimore Woolson with the other characters flitting in and out. Their performances were nothing short of heroic. As Constance Fenimore Woolson, Annabella-Vesela Ellis made an appealing second voice, almost Henry James’ conscience, and she repeatedly caused him to pull back from intimate entanglements.
– Robert Hugill, Planet Hugill

[Translated]
The mezzo-soprano Annabella-Vesela Ellis immediately seduces with the quality of her vocal line and her incarnation of Constance Fenimore Woolson. Her Constance manages to become a touching character, despite a role mainly devoted to commentary.
– Jules Cavalié, Avant Scène Opéra

The music is lyrical. It is beautifully produced and Annabella-Vesela Ellis is convincing in the lead role. 
– Barbara Taylor, letter to the Irish Times

New Ofglen (The Handmaid’s Tale), English National Opera:

“Annabella Vesela Ellis made a shimmering impression as New Ofglen.”
– Yehuda Shapiro, Opera Magazine

“… Annabella-Vesela Ellis was parted in the small role of New Ofglen, but was still able to command attention with an attractive, well-sung performance.”
– Alan Neilson, OperaWire

“Mezzo-soprano Annabella-Vesela Ellis was split into the small role of New Ofglen, but still managed to grab attention with an engaging, well-sung performance.”
– Moon P. Grigler, Quakerpedia

Orlovsky (Die Fledermaus):

Mit viel Feuer sang und spielte auch Annabella Ellis aus Bulgarien den Orlovsky und bekam für Champagner-Arien stürmischen Beifall.
– Larissa Gawritschenko und Thomas Janda, Online Merker

Rosina (Barber of Seville): 

Count Almaviva, hopelessly in love from afar with the beautiful Rosina, sung by mezzo Annabella Ellis, of the sparkling eyes and thrilling coloratura.”
– Andrew Liddle, Features Writer for The Yorkshire Times.

Annabella Ellis is his feisty Rosina who is more than a match for both the lecherous guardian, Don Basilio, and is as wily as Figaro himself.
– Mike Smith, Arts Scene in Wales.

Making a fine Rosina is Annabella Ellis, very much the Spanish flower, which all the other characters seem to adore. Her voice, whether singing her glorious arias or the many duets, trios and ensemble parts heard within made for essential listening.
– The Sprout.

A star turn from the baritone himself, matched in pace and presence by Annabella Ellis (a splendidly refusenik Rosina).
– by Steph Power, The Stage.

The tenor and mezzo Annabella Ellis were well-matched as Almaviva and Rosina. Both combined vocal intensity with charm, had good diction, showed great dexterity in their coloratura singing and acted extremely well.
– Cath Barton, Wales Arts Review.

The baritone was a solid barber and surely the best singer together with Rosina (Annabella Ellis).
– Andrea Gaini, Quench