Moira Johnson Consulting
Adrianne Pieczonka


What the critics say...




Adrianne Pieczonka a 'glorious' and 'powerful' Senta in Bayreuth Festival's Der Fliegende Holländer

"The true vocal laurels of the evening went to soprano Adrianne Pieczonka, whose Senta was as dramatically committed as it was stunningly sung. Pieczonka sang with immaculate diction and a youthful purity of sound, moving from strength to strength as the evening progressed." (Opera News, 31 July 2012)

"Frenetic ovations greeted Adrianne Pieczonka for her supreme performance. With clear, powerful, contoured high notes and precise dramatic gestures, she was the star of the evening." (Der Spiegel, 25 July 2012)

"…Adrianne Pieczonka's Senta, whose seductive portrayal is matched by a big, voluptuous voice. This Senta is not the conventional maiden but a modern woman with deep sexual frustrations and Pieczonka sings the part with style and authority." (Financial Times, 28 July 2012)

"He could not, of course, hold a candle to his Senta: Adrianne Pieczonka modeled each phrase with an ease that is unmatched, with limitless flexibility, lyrical grace and power - and with such emotional conviction that she leaves everyone else far behind. Her pianissimo is stupendous." (Der Standard, 26 July 2012)

"...and Adrianne Pieczonka, singing with seductive, penetrating tone." (New York Times, 26 July 2012)

"Adrianne Pieczonka made a powerful, persuasive Senta." (Bloomberg, 26 July 2012)

"There was great applause especially for the new Senta, Adrianne Pieczonka whose voice bloomed fully in the dramatic moments but also had the necessary lightness to sing the lyric passages of this challenging role." (Die Presse, 25 July 2012)

"The biggest ovation went to Adrianne Pieczonka for her unusually lyric Senta. Thanks to Christian Thielemann's conducting, she never had to force her voice." (Merkuronline, 26 July 2012)

"Adrianne Pieczonka sang a glorious Senta." (Daily Telegraph, 27 July 2012)

"Adrianne Pieczonka was triumphant vocally. Her portrayal of Senta was incomparable." (El Pais, 27 July 2012)

"Adrianne Pieconka's Senta was gleaming and wonderfully lyric at all times" (Berliner Morgenpost, 26 July 2012)

As Elisabeth in Verdi's Don Carlos at the Vienna State Opera

"Adrianne Pieczonka's debut as Elisabeth was impressive: her fragility was tempered by her strength and love. She made an appealing royal figure." (Wiener Zeitung, 27 April 2012)

"Adrianne Pieczonka made a magnificent debut as the noble queen. She was ravishing in the final scene." (Kronen Zeitung, 26 April 2012)

Adrianne made her Vienna debut as Die Kaiserin in Strauss's Die Frau ohne Schatten at the Vienna State Opera on March 17th

"Adrianne Pieczonka navigated her soprano voice from the airy coloratura of her very first entrance to the deepest tension of her 3rd act Monologue. Her natural vocality retained its brightness throughout. She sang with intensity but not effort. The more than two octave leap in her final scene was immaculate." (Die Presse, 18 March 2012)

"Despite fine performances from the entire cast, the evening belonged to Adrianne Pieczonka. Her noble, unpretentious portrayal of the Empress struggling to move from her magical realm to the real world in order to find her humanity was very clear and poignant." (Wiener Zeitung, 20 March 2012)

"Adrianne Pieczonka is an elegant, word perfect Kaiserin." (Der Kurier, 18 March 2012)

"Adrianne Pieczonka delivered precious high notes throughout the evening." (Der Standard, 18 March 2012)

REVIEWS: Adrianne as Tosca at the Canadian Opera Company

"...the Toronto-based soprano identified so fully with the title roles, both vocally and histrionically (not least in a poignantly sung 'Vissi d'arte') that her right to the role was never in doubt." (Opera Canada, Spring 2012)

"Adrianne Pieczonka's Tosca the best thing in COC's production of Puccini classic. [Pieczonka] uses her own theatrical shrewdness and innate likeability to scrape away the years of theatrical artifice from the role and offer us a diva-free zone. Her Tosca begins as a good-time girl, charming, playful, quick to become jealous, quicker to forgive, more anxious to discuss her late night rendezvous with her lover than worry about the finer points of Franco-Italian politics. But when reality intrudes in Act II and she comes face to face with the evil lust and intellectual duplicity of Baron Scarpia, she grows up very quickly indeed. At this crucial moment in the opera, Pieczonka sinks to the floor like a sad little rag doll who's had all the stuffing torn out of her and, in a moment of silent clarity, looks at life anew. This means that the famous aria, "Vissi d'arte" becomes so much more than a beautiful chance for her to sing. As the simple words and haunting melody float upward, Pieczonka's airy yet rich tones sound as though she was filling them with her soul, instead of mere breath. It's a moment of transcendent beauty that carries the artist through her murder of Scarpia, her revulsion afterwards, and the grand sweeping arc of the final act that leaves her with no other choice than to leap from the battlements to join her lover in death. In Pieczonka's hands, this becomes the stuff of tragedy, not melodrama." (Toronto Star, 22 January 2012)

"[Pieczonka] gave a luminous performance of Vissi d’arte in Act Two, sung while on her knees." (Globe and Mail, 23 January 2012)

"...with vivid acting, a dignified bearing, and gleaming high notes [Adrianne Pieczonka] made a formidable impression." (National Post, 22 January 2012)

"The ace of hearts is Toronto-based soprano Adrianne Pieczonka, who captures the full power and pathos of Floria Tosca, a temperamental opera diva who is forced into murder in order to protect her loved one. Pieczonka is in her vocal and dramatic prime, providing the right emotional weight, phrasing and pacing to every note she has to sing. We are so lucky to have her with us in Toronto." (MusicalToronto, 21 January 2012)

Senta in Der Fliegender Holländer at the Hamburg Staatsoper

"…Like her Metropolitan Opera Sieglinde in the late lamented Otto Schenk production, this Senta was well-nigh perfect in both sigh and sound. No modern Wagnerian looks more like a proper German-storybook heroine should, and surely no one sings this role with great beauty, accuracy or affection, shaping the often awkward-sounding ballad as if it were an exquisite Bellinian jewel." (Opera Canada, Spring 2012)

In "velvet" voice in Toronto

Since conquering a bout of laryngitis that kept Adrianne away from the opening night performance of Ariadne auf Naxos at the COC, she has since returned to the role and given a superb recital at Koerner Hall!

AS ARIADNE: "Pieczonka stepped back into the opera on May 2 [after recovering from laryngitis] - and on Thursday evening gave a performance so convincing it was hard to imagine she's ever had a vocal problem in her life. in the second and final act her sumptuous soprano filled out Richard Strauss's long lines and glorious crescendos with complete security and control. She was an ideal foil to the coloratura of soprano Jane Archibald as Zerbinetta, who stopped the show with her brilliant vocal pyrotechnics. Together they represented what this opera is all about: the contrast between deep and profound art, and light, delightful entertainment." (Globe and Mail, 13 May 2011)

"Pieczonka's full lyric soprano is ideally suited to Ariadne, and there was much to enjoy in her luminous performance...the voice ringing out securely with its trademark gleaming tone. The high B in the opening of "Es gibt ein Reich" was glorious. She threw herself into the role and sang a moving final duet with tenor Richard Margison (Bacchus)." (La Scena Musicale, 4 May 2011)

IN RECITAL WITH BRIAN ZEGER, PIANO: "The soprano combines a beautiful voice with a sincerity and simplicity that touches the heart - an artist without artifice. On this particular evening, the extremely receptive audience was made up of voice fans of course, but also friends and family of the singer, gathered there to honour and enjoy an evening of music-making. It was an old-fashioned "love-in." The voice was clear and strong, the tone pure, with its trademark gleam. Her interpretation was straightforward, rather generalized in its emotional expression, the text communicated with unpretentious directness." (La Scena Musicale, 13 May 2011) Read the full review here

"Die Forelle (The Trout) sparkled with fluid vocal agility; and Gretchen am Spinnrade (Gretchen at the Spinning Wheel) gradually built up to a frantic climax. Throughout the set, the soprano's voice was like velvet. ...There were two groups of Strauss songs- Pieczonka revealed a layer of steel beneath the velvet. She has the kind of powerful voice that can readily (or even inadvertently) be "weaponized," with harsh consequences for listeners. But this she did not do; rather, she tempered her tone with an endearing warmth. ...Pieczonka embraced the emotional texts [of Wesendonck Lieder] in ways that were both profound and subtle. Changes in dynamics and texture were skillfully handled - especially in the songs Stehe Still! (Stand Still!) and Schmerzen (Sorrows). She also seemed entirely comfortable with Wagner's unsettled, chromatic musical language. ...Similarly, in the second set of Strauss songs - Du meines herzens Kronelein, Morgen, Wir beide wollen springen, and Zueignung - Pieczonka was committed to the poetry and the musical line. She concluded the last song, Zueignung (Dedication) with a dramatic flourish that called for, and received, a spontaneous standing ovation." (Globe and Mail, 8 May 2011)
Read the full review here

The very model of a vocal recital: "Song recitals often start out rather cautiously with "easy" or warmup pieces. Not so this time. Ms. Pieczonka achieved full lift-off with Schubert's "Ganymed" and never looked back. She expressed a variety of vocal moods, such as in the despairing "Du liebst mich nicht" (You do not love me), without overdoing it. "Gretchen am Spinnrade" started off hollow-toned and its dramatic structure was grippingly articulated. The second half began with Wagner's Wesendonck-Lieder. Here again she adroitly captured the right tone and mood of each number." (ConcertoNet, 2 June 2011) Read the full review here


Adrianne reprises her triumphant role of Senta in Der Fliegender Holländer at the Vienna State Opera

"In the heart of this production was the debut (sic) of Adrianne Pieczonka as Senta. She was rightfully cheered and celebrated for her remarkable intensity and power as we followed her through her dream world. With flawless, cultivated vocality her voice gleamed warmly and there were many moving moments throughout." (Die Kronen Zeitung, 14 February 2011)

"The wonderful Strauss interpreter displays how she can also shine in Wagner's music. Her floating, gleaming, endlessly spun tones are mixed with thrilling metallic attacks. She is a fascinating Senta." (Der Neue Merkur Wien, 15 February 2011)

"...a very elegant Senta" (Der Standard Wien, 13 February 2011)

Adrianne opens in Der Rosenkavalier at the Vienna State Opera

"Adrianne Pieczonka is a noble and poised Marschallin. Her supple, soft but still powerful soprano is impressive. She does not skimp on warmth and gives the famous final trio in Act 3 a 'Hoffmannsthal' sparkling character." (Die Kronen Zeitung, December 2010)

"...a sublime and elegant Marschallin" (Wiener Zeitung, 17 December 2010)

"The best performance of the evening came from Adrianne Pieczonka - she sang The Marschallin with elegance and was vocally most impressive." (Kurier, 17 December 2010)

Double debut in Paris: Adrianne stars as Senta in Der Fliegender Hollander in her first appearance at the Paris Opera

"Adrianne Pieczonka debuted in the role of Senta and from the beginning on it was a triumph. Her interpretation was full of youthful freshness. Her voice is round and perfectly warmly timbered in every register. Her opening "Ballade" was powerfully sung, her duet with Erik fully of shyness and her love duet with the Holländer fully of ecstasy. Her singing is highly expressive from the first to the last tone. Wagner lovers will not be disappointed!" (Die Presse, 20 September 2010)

"…the Canadian soprano Adrianne Pieczonka has the qualities of an almost ideal Senta - a radiant presence, full timbred, heavenly high notes and rich phrasing." (WebThea, Sept. 2010)

"For their debuts at the Opéra de Paris, it was Adrianne Pieczonka and Klaus Florian Vogt who received the warmest acclaim. The Canadian soprano embodied Senta from the first moment - and, without losing strength, the vocal incarnation was complete (mastery over the high notes, a beautiful suppleness of expression)." (ConcertoNet, 13 September 2010)

"As Senta, Adrianne Pieczonka is more forceful : there again, we are delighted to find a supple voice, very homogenous throughout the ensemble of the tessitura, technically solid enough to overcome the many obstacles that Wagner strews in her path (so rare that it is worth highlighting: all the high attacks of the famous 'Ballade' rang out with precision and a ease that never faulted), but one also sees a less assertive personality, more in line with the great interpreters of the role, into the centre of which Pieczonka has gloriously installed herself...let us welcome a role debut boldly assumed, with an ovation that we have rarely seen. " (ForumOpera, 9 September 2010)

" …the other wonderful surprise was the Senta of Adrianne Pieczonka, who like Vogt, was making her Opéra de Paris debut. The Canadian soprano took on the final scene with authority, an expansive voice, robust, and increasing warmth in the high notes …this Senta had presence, both musically and physically." (altamusica.com, 9 September 2010)

"Lyrical" and "Luminous" Adrianne debuts as Die Kaiserin in Die Frau ohne Schatten at the Teatro Comunale in Florence

"In the title role, Adrianne Pieczonka proves once more what delightful interpretations can be accomplished with the astute blend of accuracy, diligence, sensitivity and warmth which are at the heart of her artistic / professional philosophy. Her warm silvery tone seemed to come from another world and touched the heart deeply. The lightness of the florid passages went hand in hand with her generous tone in the dramatic passages." (Opernglas, June 2010)

"Adrianne Pieczonka's Kaiserin is particularly lyrical, her radiant voice very well suited for the Strauss repertoire. Especially intense was also the finale 'ich will nicht' in which she affirms the happiness which is not based on the suffering of others." (Teatro.org, 13 May 2010)

"The staging (direction, scenery, costumes) by Yannis Kokkos was very beautiful, as much for its oriental and fairy-tale overtones... as for the intensity and impressive accuracy of the singing, in particular of the two protagonists, Adrianne Pieczonka (the Empress) and the powerful Elena Pankratova (the wife of Barak), whose ideal voices and stage presence defined and blended the otherworldly luminosity of the first and the bizarre and resonant humanity of the second." (Giornale della Musica, 30 April 2010)

"Also superb was the Empress of Adrianne Pieczonka" (La Repubblica, 1 May 2010)

"Mehta brought together a cast of homogenous voices for their power. Standouts are Adrianne Pieczonka, a wonderful and expressive Empress..." (Il Giornale, 1 May 2010)

"...the soprano Adrianne Pieczonka, the Empress, with great personality and soaring high notes..." (Il Giornale della Toscana, 1 May 2010)

"The luminous Adrianne Pieczonka..." (l'Unità, 1 May 2010)

"...thanks to the excellent voice of Adrianne Pieczonka..." (Avvenire, 1 May 2010)

"The singers are excellent: Adrianne Pieczonka has a full and supple voice for the role of the Empress..." (La Stampa, 4 May 2010)

"The two protagonists were magnificent, the luminous and soaring Empress of Adrianne Pieczonka and..." (La Nazione, 1 May 2010)

"Greatly appreciated are the interpretations of the highest level of the two sopranos: Adrianne Pieczonka was an esteemed Elisabetta in Don Carlo in 2004, a role she alternated with Barbara Frittoli. In this production she took on the role of the Empress - vocal sureness, understandably somewhat cautious at the beginning, but with progressive abandon and total control over the role." (OperaClick, 8 May 2010)

Adrianne "Shimmering" in Simon Boccanegra with the Metropolitan Opera

"Following her successful debut as Lisa (Pique Dame) in 2004 and several appearances as Sieglinde, Adrianne Pieczonka returned to the Met in the role of Maria Boccanegra (alias Amelia Grimaldi) and conquered once again the public thanks to her cristalline voice, so well suited to the purity and innocence of the character. When full, this voice was of great beauty, and in the Council scene, had the capacity to become significantly larger. Personally, I found her at her best in the final scene, when the daughter is truly grief-stricken before the imminent death of her adored father." (L'opera, March 2010)

"...her sound is one of sheer beauty, with gleaming high notes, and her Amelia was fully formed dramatically." (Musical America, 21 January 2010)

"As Maria/Amelia, the Canadian soprano Adrianne Pieczonka was splendid, singing with clear, shimmering, pitch-perfect sound and lovely phrasing." (New York Times, 20 January 2010)

"...a winning Amelia with gleaming notes." (Associated Press, 19 January 2010)

"Radiant" Elsa in Houston

"The contrast between Goerke's voice and that of Pieczonka's, two voices of both purity and power, was notable. Both voices exhibit the style that I have characterized as bel canto Wagnerian singing, one of the features of the current millenium that make contemporary Wagnerian performances so exciting." (Operawarhorses.com, 15 November 2009)

"With her thick and creamy soprano, Adrianne Pieczonka makes an ideal Elsa, the ultimate damsel in distress." (Houston Press, 3 November 2009)

"Pieczonka's radiant soprano conveys Elsa's purity and dignity. She convincingly enacts the heroine's troubled state - first as woman wrongly accused, then as one increasingly tormented by her husband's secret. She is joyous celebrating Lohengrin as her redeemer; righteous challenging wicked Ortrud." (Huston Chonicle Herald, 1 November 2009)

"Adrianne Pieczonka possesses a gorgeous, bell-like voice that is perfect for Elsa. Her dynamic range is truly staggering, dominating the massed forces at the end of the first act then singing with childlike purity when she next appears in act two." (Concerto.net, 30 October 2009)

Mahler's Symphony No. 8 with the Berlin Staatskapelle and Pierre Boulez at Carnegie Hall

"The Eighth calls for eight vocal soloists; except for the pearly Mater Gloriosa of Sylvia Schwartz, Boulez's performance was cast with Wagnerians. The bountiful dramatic soprano of Christine Brewer (Magna Peccatrix) contrasted nicely with the fresh, jugendlich voice of Adrianne Pieczonka (Una Poenitentium)." (Opera News, August 2009)

Adrianne brings her 'radiant' Tosca to San Francisco

"In the title role, soprano Adrianne Pieczonka outdid herself with a gripping, fine-tuned account of "Vissi d'arte," Tosca's heartfelt aria of aestheticism and self-pity. Pieczonka...boasts plenty of tonal muscle, and she deployed it assuredly in the role's more demanding passages." (San Francisco Chronicle, 4 June 2009)

"Pieczonka's Tosca is the quintessential diva, rendering her signature arias with ease and verve -- in the second act, the iconic Vissi d'arte, vissi d'amore ("I lived for art, I lived for love") pretty much brought down the house." (SF Weekly, 4 June 2009)

"She ranged easily; her high notes were bull's-eyes - and, overall, her voice had a prismatic quality, light and color-filled, like Puccini's music itself. You could hear why she's been moving up through major roles in major houses." (San Jose Mercury News, 3 June 2009)

Adrianne makes a "gleaming" Sieglinde in the Metropolitan Opera's Die Walküre "Mr. Domingo was lucky to have a wonderful Sieglinde in the lovely Canadian soprano Adrianne Pieczonka, who brought a gleaming voice, affecting vulnerability and exciting sensuality to her performance." (New York Times, April 29, 2009)

In her role debut as Leonore in the Canadian Opera Company's Fidelio

"Adrianne Pieczonka sings the title role of Leonore with dramatic and musical purpose. Pieczonka, one of the top Wagner interpreters of our time, has an expressive, flexible, velvet-trimmed voice backed up by ample reserves of steely resolve. Every phrase is gorgeously shaped, every emotion conveyed with a minimum of fuss and maximum effect." (Toronto Star, 26 January 2009)

"Soprano Adrianne Pieczonka...has such deep resources (including a powerfully eloquent voice) for projecting an invented life." (Globe and Mail, 25 January 2009)

"Adrianne Pieczonka is superb as Leonore. ...full marks go to the flawless Pieczonka and Ketilsson." (Toronto Sun, 26 January 2009)

In the title role of Ariadne auf Naxos in Bilbao

"Her elegant interpretation was the greatest distinction in this production." (El Correro)

"Canadian soprano Adrianne Pieczonka is one of most important artists working today and her Ariadne was simply superb. Last July I wrote about her Ariadne in Munich (with Damrau as Zerbinetta) and I well remember the audience's appreciation of both ladies. This performance equalled that of Munich. When Ariadne is sung with such beauty, and in such a natural way, everything seems to be so easy that the audience does not realize just how exceptional she is. Here we heard a truly wonderful performance from a great artist in her prime." (Seen and Heard International, 18 October 2008)

"Adrianne a touching and noble Ariadne"

"As Ariadne and the Prima Donna, Adrianne Pieczonka was completely convincing, growing stronger vocally from minute to minute, singing her final scenes with searing intensity." (Opera News, November 2008)

"Ariadne by contrast is one of Strauss's imperishable masterpieces, and Munich could hardly fail with the superbly cast ladies of Robert Carsen's new production: Adrianne Pieczonka's lyrical, brightly gleaming Prima Donna, Diana Damrau's dazzlingly sung Zerbinetta and Daniela Sindrams's painfully introverted but rapturously soaring composer."(The Sunday Times, 3 August 2008)

"Adrianne Pieczonka's singing was impeccably pure and iridescent vocally, the kind of silvery tone one imagines in the abstract for Strauss" (London Financial Times, 31 July 2008)

"And Adrianne Pieczonka embodied in voice and stature what the Composer, Poet and audience had anxiously awaited: with her elegant velvety soprano, she filled the theatre with her gleaming soaring sound which could also move with lightness and grace." (Münchner Merkur)

"Adrianne Pieczonka sang with a wonderfully clear sound, at times intimate at times generous with a round soaring Strauss line." (Die Welt)

" Canadian Adrianne Pieczonka sang Ariadne with a wonderfully warm timbre, full of colours..." (Süddeutsche Zeitung, 26 July 2008)

"...it was a triumph (for Diana Damrau), and no less for Canadian soprano Adrianne Pieczonka, another Bayerische Staatsoper favourite, who portrayed an particularly generous and touching Ariadne" (cyberpress, 25 July 2008)

"Adrianne Pieczonka regally mastered the role of Ariadne with a touching nobility which was present even in the most delicate passages..." (Münchner AZ)

Adrianne 'radiant' as Tosca

"Pieczonka was consistently compelling, a popular and charmingly self-absorbed Tosca drawn, through her ignorance, into intrigues beyond her ken. Vocally, she delivered a full-bodied precision and effortless legato throughout the range. Her "Vissi d'arte" was strong and determined, yet wrung the heart. It was just the right mix of confidence and vulnerability." (Downtown LA News, 23 May 2008)

"The company's "Tosca" has been around. Ian Judge's regularly revived production is 19 years old and returns with its original tenor, Neil Shicoff, and veteran Juan Pons. But Tosca is new: Adrianne Pieczonka sang the role for the first time Saturday. The Canadian soprano will surely be singing it for a long time. She was radiant. (LA Times, 19 May 2008)

Read more here "Our Tosca, Canadian soprano Adrianne Pieczonka, was imperious and imposing, mercurial and gorgeous, impetuous and smitten. A Diva-in-Full. She has a creamy mid-range, a crystalline top, solid anchoring, she projects effortlessly, she's got power to burn. In a world in which the value of an extended ovation has seen continuous hyperinflation, the cheering she received for "Vissi d'arte" was fully earned. Desperate lyricism defined." (OC Register, 19 May 2008)

Adrianne in Ariadne at the Staatsoper

".....with her lovely timbre, Adrianne Pieczonka sang movingly into the hearts of the Staatsoper audience" (Wiener Zeitung, 29 March 2008)

"Adrianne Pieczonka was the highlight of the evening. Her voice is equally at ease in the highest and lowest registers and her middle voice simply blooms. Her technique is flawless, and her clarity of text, her delicate "piani" are to be marveled at. We have not had such a wonderful Ariadne in a very, very long time. What a Strauss voice!" (Der Neue Merkur, 27 March 2008)

Adrianne makes a "thrilling" Sieglinde in the Met's Die Walküre

"The most impressive voice belonged to American [sic] soprano Adrianne Pieczonka. If Wagner could have a bel canto soprano, she was it, with a voice of an almost unearthly purity...her farewell to Brünnhilde (much of it lying down) was as thrilling as anything I have ever heard in Wagner. Her replacement for the last performances will be the great Deborah Voight, but I don’t see how she could be improved upon." (ConcertoNet, 8 January 2008)

"Adrianne Pieczonka...has a clear, silvery lyric sound that easily penetrates the orchestra, and her acting is forthright and altogether winning." (Associated Press, 8 January 2008)

"...the lustrous soprano Adrianne Pieczonka as Sieglinde." (New York Times, 9 January 2008)

"Adrianne Pieczonka [was] a strong, strikingly sensuous Sieglinde." (Time Out New York, 9 January 2008)

"Adrianne Pieczonka is a lovely Sieglinde, her voice as fresh and pliable as her youthful appearance." (Musical America, 9 January 2008)

"[Adrianne Pieczonka] was a touching, affecting Sieglinde, as well as a strong one. And she showed considerable musical smarts." (New York Sun, 9 January 2008)

A "radiant" Elisabeth in the Canadian Opera Company's Don Carlos

"Pieczonka's powerful soprano positively glowed with emotion and deep understanding, climaxing in an exquisitely phrased "Toi qui sous le néant." Pieczonka and Hendricks offered clear French diction and proved themselves natural, involving actors." (Opera News, January 2008)

"Soprano Adrianne Pieczonka was looking radiant and singing magnificently, developing the character of Elisabeth, Philip's reluctant young queen, visibly and touchingly." (The Globe & Mail, 15 October 2007)

"The undisputed vocal stars are soprano Adrianne Pieczonka, as Elisabeth, and bass-baritone Terje Stensvold, making his COC debut as Philippe II. Both had the vocal power and dramatic depth to shine in these difficult roles." (Toronto Star, 15 October 2007)

Verdi Requiem with the Los Angeles Philharmonic

"Soprano Adrianne Pieczonka, whose previous LAO appearances include Countess Almaviva and the Marschallin, was riveting in the Libera Me, singing with steely resolve and credibly portraying a character pleading for salvation. Throughout the Requiem, she displayed focused, gleaming tone, secure top notes and beautifully floated high pianissimos." (Opera News, December 2007)

'Radiant' Sieglinde - Adrianne once again seduces Bayreuth in Die Walküre

"Adrianne Pieczonka's feminine, radiant and musical Sieglinde proved an oasis of lyricism in a desert of high voices." (Opera, November 2007)

"In this wonderful atmosphere, Sieglinde, radiantly portrayed by Adrianne Pieczonka, creates a very complete character , vigorous, not deprived of dreams, but with a fragility that is both passionate and real."(Altamusica, 10 August, 2007)

Adrianne "radiantly warm" in Munich Marschallin

“Canadian Adrianne Pieczonka was radiantly warm and elegant as the Feldmarschallin; her rich, glorious voice was totally natural with no operatic pretensions, just like her acting.” (American Record Guide, November-December 2007)

"Stunning" performance at the Luminato Festival's Opera Gala - LUNA

"Pieczonka also had a few revelations to make. This great soprano stayed away from the Germanic repertoire for which she is best known (her latest album was all Wagner and Richard Strauss), sticking to Italian arias and one number from Dvorak's Rusalka (which was originally on Bayrakdarian's list). She gave a stunning performance of Elvira's big Act I number from Verdi's Ernani, making the many treacherous corners of this showpiece sound like the most elegant fun. I found myself scrambling to adjust my obviously limited idea of what she can do well. The Rusalka excerpt (Song to the Moon) and the famous aria from Catalani's La Wally were sublime in a different way, so beautifully clear in sound and intention. Pieczonka is one of those singers whose invocation of the ideal values of her art somehow makes you feel like a better person, for participating even vicariously in that appeal." (The Globe and Mail, June 11, 2007)

Pieczonka with the Montreal Symphony Orchestra

"The nine melodies of the Poèmes pour Mi are written for a great dramatic soprano of which Adrianne Pieczonka assuredly is." (Le Devoir, 25 mai, 2007)

"…sung before intermission with captivating beauty by Adrianne Pieczonka." (The Gazette, May 26, 2007)

As Elizabetta in Don Carlos at the Gran Teatre del Liceu in Barcelona

"Adrianne Pieczonka is an Elisabeth of great quality, capable of youthful ardour, of painful pride, of dignified nobility, and of making one listen to what she is expressing. She seems to sing without effort, with no weaknesses in her interpretation, with a clarity that enunciation does not diminish. So pure that it seems effortless." (Forum Opéra, 5 February 2007)

"Vocally Adrianne Pieczonka was the highlight, with a timbre and phrasing of great beauty." (El PeriĂłdico, 30 January 2007)

"[A voice] of great colour and musicality." (La RazĂłn, 29 January 2007)

A Soaring Arabella at the Vienna State Opera

"Adrianne Pieczonka embodies Arabella in flesh and blood with her tireless vocal shimmer and perfect technique. She joins the ranks of the most famous interpreters of this role. The merits of her soprano voice are endless. She alternates effortlessly from lyric sensitivity to dramatic outbursts and her exceptional musicianship is always evident." (Opernglas, January 2007)

Pieczonka's voice soared… Her face reflected the moment - a mirror of love, tenderness, puzzlement." (International Herald Tribune, 10 December 2006)

"Das sängerische Ereignis der Aufführung ist jedoch Adrianne Pieczonka in der Titelrolle. Wie sie ihren entspannt strömenden Sopran nahtlos aus der satten Mittellage in die Höhe führt und aufblühen lässt, wie sie Wärme, Zartheit und Intensität in subtilen Klangschattierungen mischt, wie sie schliesslich den Text artikuliert, das alles weist sie als ideale Strauss-Sängerin aus und wird getragen von einer ebenso konzentrierten wie natürlichen Darstellung, der allerdings mädchenhafte Koketterie fernliegt." (Neue Zürcher Zeitung, 13 December 2006)

Adrianne Pieczonka "mesmerizes" in recital

"The soprano has an uncanny ear for turning a musical phrase. Ending the official portion of the recital with Richard Strauss's soaring Zueignung (Dedication) was an inspired move, sending the audience into a riot of rapturous applause that had the singer back on stage several more times. It takes a special artist to step outside formal opera to tell a compelling story without the aid of a formal character. Pieczonka is one of those people. We can only hope she'll be back with more soon." (Toronto Star, 14 October 2006)

"It was a performance as musically interesting and vocally polished as anything I have heard in years. Many singers with voices suited to heavier opera are not naturally recitalists, the demands of the two being rather different. Pieczonka, however, clearly understands the highly varied world of the song recital and has the musical intelligence needed for recital singing. ... Pieczonka was nothing short of brilliant in her portrayal of all the moods of the songs she chose." (Calgary Herald, 7 October 2006)

Adrianne Pieczonka confirms her repute as the "Sieglinde of our time" in Die WalkĂĽre in the COC's landmark Ring Cycle

"...drop-dead fabulous performance as Sieglinde." (Globe and Mail, 19 September 2006)

"Last month, in the new production of the "Ring" at the Bayreuth Festival, I was impressed by the Canadian soprano Adrianne Pieczonka's vocally exquisite Sieglinde, and she was just as fine in that role here, singing with lushly beautiful sound and poignant vulnerability." (New York Times, 19 September 2006)

"There was one heart-rending hour in the entire cycle that everyone present will remember for the rest of his or her lives. It was a magical meeting of singers, music and drama that was more powerful than anything I have ever witnessed onstage...with the once-in-a-lifetime vocal and dramatic power of Toronto soprano Adrianne Pieczonka and American tenor Clifton Forbis...many audience members were left in tears, and most found it impossible to rise from their seats at the first intermission." (Toronto Star, 18 September 2006)

"As Sieglinde, Adrianne Pieczonka was [Forbis's] splendid match; their scenes together were outstanding, with knock-'em-dead singing and dramatic conviction." (Musical America, 18 September 2006)

"The heart and star of the COC's production was soprano Adrianne Pieczonka (Sieglinde), who fused an astonishing torrent of beautiful singing with a characterization that was almost painfully true." (Globe and Mail, 14 September 2006)

Adrianne Pieczonka Triumphs in Bayreuth

"The Sieglinde of our time…a shooting star of international Wagner and Strauss renown. Pieczonka glitters with a lyrically expressive, well nuanced soprano, appearing effortless even in top range, always with clearest articulation." (Die Zeit, 29 July 2006)

"Adrianne Pieczonka made a gorgeous, lyrical Sieglinde, with an uncommonly beautiful, forthright sound." (Musical America, 28 August 2006)

"A vocalist such as Adrianne Pieczonka, the Sieglinde, unfolds her soprano to reveal stunning luminosity. Her voice can exalt." (Die Presse, 29 July)

"Winner of the evening among the strong women was certainly Adrianne Pieczonka as Sieglinde, whose pearly clear and forceful soprano serves up ideal tones of purest love for Siegmund. Which altogether justified the strong applause and many bravos." (Der Spiegel, 28 July)

"The vocal highlight is Adrianne Pieczonka's radiantly sung Sieglinde…" (Guardian, 29 July 2006)

"The great and well-earned vocal triumph was that of the Sieglinde, Adrianne Pieczonka, with an exceptional and powerful timbre and, blessedly, an exemplary delivery" (La Razon, 1 August)

"A genuinely lyrical Sieglinde, whose soprano can expand to bloom gloriously. From the most finely spun conversational tone to an all-conquering flowing dramatic volume she has all at her command. Ovations. A triumph." (MĂĽnchner Merkur, 29 July)

Adrianne Pieczonka returns to the LA Opera as the Countess in Le Nozze di Figaro

"Adrianne Pieczonka was a grand and moving Countess." (Los Angeles Times, 27 March 2006)

"She once again, as with the Marschallin in Der Rosenkavalier, carried off her assignment with vocal grace and charm personified as the beauteous wife of a philandering husband. Total transformation." (CityBeat, 6 April 2006)

A rare performance of Das Paradies und die Peri with the American Symphony Orchestra at Avery Fisher Hall in New York

"Adrianne Pieczonka took the juicy title role, ending with great soaring outbursts that held their own above the chorus at the grand finale...her courage and expansiveness ended up carrying the day." (New York Times, 31 January 2006)

A Triumphant Ariadne at the Vienna Staatsoper

"Adrianne Pieczonka is an attractive Ariadne with bright, ringing tones which she controls perfectly. She also possesses a beautiful cool timbre and wonderful spinning high notes. She portrayed a princess of very noble bearing who showed a many facetted personality. Her famous monologue was a highlight of the evening." (Die Kronen Zeitung, November 2005)

"In her debut as Ariadne, Adrianne Pieczonka displayed a mix of noble dramatic restraint and musical intensity." (Der Standard, 24 November 2005)

Adrianne Pieczonka is a regal Marschallin in Der Rosenkavalier at the Los Angles Opera

"Adrianne Pieczonka's Marschallin ruled the stage. At once regal and touchingly vulnerable, she visibly aged during Act I; her finely nuanced performance represented in absorbing detail the growth of a woman from infatuated youth to a middle age haunted by the passage of time." (Opera News, August 2005)

"Pieczonka's Marschallin is regal, unsentimental and smart, and when her vulnerabilities break through as she reflects on her situation, they are all the more touching. Her soprano is brushed steel, burnished yet not hard" (LA Times, 31 May 2005)

"The rich-voiced soprano Adrianne Pieczonka played the Marschallin with the requisite noble bearing and fragile grace. More uncommon, though, was the sexual hunger and emotional vulnerability she revealed during the frolicking love scenes with Count Octavian…"(New York Times, 31 May 2005)

Adrianne Pieczonka's amazing in Die WalkĂĽre at the Metropolitan Opera

"So complete was Pieczonka's success that, had Richard Wagner been at the performance on October 9, he may well have been tempted to rename his Die WalkĂĽre as Der Triumph von Sieglinde. Pieczonka is arguably the Sieglinde of our day. And on this occasion-with her expressive lyricism, unforced beauty of tone, exemplary diction and compelling acting - she cleary left most of her Met colleagues in the dust. A tall, handsome figure on stage, she also brought an understated glamor to the role that one rarely encounters." (Opera Canada, Volume XLV, Winter 2004)

"It was heartening to see the ovations for Adrianne Pieczonka, whose Sieglinde was a triumph… Ms. Pieczonka, who made news in her Met debut last spring as Lisa in Tchaikovsky's Pique Dame, has a gorgeous instrument with the ability to soar, such as in the thrilling scene in Act II when she is given the shards of Siegmund's sword, and pleads for death. But she can also shape and mould the tiniest pianissimos, and has the ability to project a haunting vulnerability. If you have not experienced her singing, try to catch her at your earliest opportunity. (Highly recommended: her Alice Ford in Verdi's Falstaff, with Bryn Terfel heading an outstanding cast, with the Berlin Philharmonic conducted by Claudio Abbado.)" (Seen & Heard, October 2004)

A Hugely Successful and Long-Awaited Return to the Canadian Opera Company as Sieglinde in Die WalkĂĽre

"Adrianne Pieczonka, an absolutely riveting Sieglinde, rapturous to the point of delirium, effortlessly met Wagner's demands while preserving a richness of voice and beauty of phrasing." (Opera News, July 2004)

"Dominating things were the Sieglinde of Adrianne Pieczonka and the Siegmund of Clifton Forbis. The Canadian soprano, returning to the COC after a long absence, sang with rich, gleaming lyricism and phrased everything with intelligent intensity; already she has few equals in this role today. Responding to Egoyan's detailed direction, she conveyed an almost feral presence in which every expression counted." (Opera, June 2004)

"Soprano Adrianne Pieczonka made a sensational Sieglinde. This young Canadian, who hasn't sung at the COC for 10 long years, displayed a beautiful sound, intelligent phrasing and the dramatic ability to depict the character's desperate, barely sane isolation. She made Sieglinde sympathetic and also a bit scary, which is what she should be." (Globe and Mail, April 6, 2004)

"Adrianne Pieczonka gives us a youthful, touching Sieglinde. Pieczonka sang with superb connection to the text -- indeed, the naturalness of Pieczonka's delivery of music and words, and her rich palette of dynamics and colours, made it hard to believe that this is her first performance of the role." (Tamara Bernstein, National Post, April 6, 2004)

"Vocally and dramatically, Adrianne Pieczonka raised the bar in the role of Sieglinde. Her phrases soared and shone. She projected feeling and character in a portrayal that was simply without equal." (Hamilton Spectator, April 6, 2004)

"Adrianne Pieczonka sings with strength and presence." (New York Times, April 9, 2004)

Adrianne Pieczonka's Stunning Met Debut in Queen of Spades

"Her liquid dramatic Soprano is a delight. Her phrasing is superb and she has wonderful and secure high notes. The audience reacted to her with enthusiasm." (ConcertoNet, March 4, 2004)

"As the hapless Lisa, Pieczonka is everything they say she is ["effortless silvery tone," "shining lyric voice," "a lovely presence," "exquisite musicality"]. She makes this appealingly fragile character all the more heartbreaking by emphasizing her impulsive nature, at first an ecstatic love-drunk girl ready for anything and later a desperately doomed woman who loses it all, including her life. This she does with a voice that gains additional expression and color as the portrait deepens, a smoothly textured, fully integrated lyric soprano of ample size and flexibility." (New York Magazine, March 15, 2004)

"As Lisa, Adrianne Pieczonka made a fresh, strong impression, singing the lovely Why am I weeping? with real passion." (Seen & Heard, Febraury 24, 2004)

As Marschallin in the Salzburg Festival's Der Rosenkavalier

"Adrianne Pieczonka's Marschallin fitted into the production's early-20th-century milieu elegantly and sang with firm, warm tone and a respect for the words." (Financial Times, August 11, 2004)

"Beautiful, noble, vocally radiant, Adrianne Pieczonka's Marschallin is of great distinction." (Le Monde, August 9, 2004)

A superb Elisabetta in the Salzburg Festival's Don Carlo

"She has a lovely instrument, and, as this young, mistreated queen, proved a lovely presence…this was a lovely Elisabetta, a cut above most." (New York Sun, August 21, 2003)

Adrianne Pieczonka with the London Philharmonia in Strauss's Four Last Songs

"She gave a truly heartfelt performance, with a tone that could bloom into radiance or shrink to a whisper." (London Daily Telegraph, April 3, 2003)

"The impressive Canadian soprano Adrianne Pieczonka ... has a remarkable ability to project every flicker of meaning in the text." (Guardian, April 3, 2003)

In the title role of Ariadne auf Naxos in Barcelona

"Triumphant Adrianne Pieczonka…expressive and exquisite musicality." (El Pais, October 21, 2002)

"Adrienne Pieczonka … with her warm dramatic soprano, strong and healthy all along the staff." (Opera News, February 2003)

"Wonderful, the Ariadne of Adrianne Pieczonka, who, like a Schwarzkopf, or even more, a Della Casa, possesses the exact colour for the score, with a luminosity in the delivery and a purity of piani which would make her, very probably, a superb Arabella, a role which today has no real champion." (Opéra international, Jan. 2003)

In recital in Munich

"The Canadian soprano Adrianne possesses one of the most marvellous voices of our time. When she lets her voice blossom in the high middle range with an effortless silvery tone, it is as if Lotte Lehmann is standing before us again. She possesses a Strauss voice sui generis! (Anton Sergl, Süddeutsche Zeitung, August 2 2002)

Four Last Songs at the International Joy of Singing Festival

"Pieczonka's [voice] was big, rich, creamy and most importantly of all, capable of infusing Strauss's characteristically long phrases with pure columns of tone. … Her approach to the songs tended to be vocally and emotionally direct…the sheer beauty of her singing was not to be denied." (Toronto Star, June 6, 2002)

Acclaimed in Hamburg

"A star was born-Hamburgians can be proud to have witnessed this evening! ... Vocally and dramatically outstanding as Katja." (Hamburger Abendblatt, April 9, 2002)

"It is her (Pieczonka's) evening! She doesn't just play Katja, she is Katja. Her shining lyric voice moves you as much as her acting." (Hamburger Morgenpost, April 9, 2002)genpost,

"This Katja is no defenseless little soul -- Adrianne Pieczonka's vocally and dramatically marvellous performance leaves no doubt about that." (Frankfurter Allgemeine Zeitung, April 9, 2002) click here for the full article

Adrianne Pieczonka makes her debut as Donna Anna at the Royal Opera House, Covent Garden

"Canadian Adrianne Pieczonka portrayed a noble and faithful Anna, with a richness of timbre that was perfect in Or sai chi l'onore and Non mi dir."
(Opéra International, March 2002)

"Adrianne Pieczonka is a Donna Anna of subtle timbre...which brings a new emotional fragility to the character" (Giornale della Musica, 24/01/2002)

"Adrianne Pieczonka, Melanie Diener and Rebecca Evans are a golden voiced trio as Donna Anna, Donna Elvira and Zerlina" (Musical America, 24/01/2002)


Reviews of Adrianne Pieczonka sings Wagner and Strauss

"The great Canadian soprano offers a bouquet of arias from the roles with which she has been shaking up the opera world of late. Her lyric-dramatic soprano really is a natural wonder, with its glistening top range and even tone. Pieczonka is a smart young singer who finds new thrills in every one of her choices, including the orchestrated versions of Wagner's Wesendonck Lieder." (Globe and Mail, 16 July 2006)

"The rich orchestrations and undulating leitmotifs from the operas of Richards Wagner and Strauss find an ideal dramatic partner in the ample soprano of Canadian Adrianne Pieczonka. Pieczonka has power and a great ability to modulate her delivery in these arias from Tannhäuser, Die Walkyrie, Lohengrin, Arabella and Capriccio. Particularly compelling are "Es gibt ein Reich" from Strauss's Ariadne auf Naxos and Wagner's Wesendonk Lieder. This debut solo disc is big, bold and beautiful." (Toronto Star, 18 May 2006)
To read the full review, click here

"You're unlikely to hear [Der Männer Sippe and Es gibt ein Reich] sung better anywhere. Pieczonka uses the power and clarity of her voice to render the melodic line keenly affecting and her sense of the deeper emotions behind the words makes each offering uniquely affecting. History will be of little doubt as to the greatness of Pieczonka's interpretation [of the Wesendonk Lieder]." (Ottawa Citizen, 7 May 2006)
To read the full review, click here

"Her bright, gleaming sound with its vibrant top is ideal in the jügendlich-dramatisch fach. Her singing combines beauty, power and nuance. ...The way the top opens up in the high lying phrases of 'Es gibt ein Reich' from Ariadne and 'Das was sehr gut' from Arabella is thrilling...A 'must-have'album for Wagner-Strauss fans and admirers of superb singing." (La Scena Musicale, May 2006)
To read the full review, click here

"Dramatic finesse and musical intensity characterize her richly nuanced soprano. That Canadian Adrianne Pieczonka has made a name for herself as a Wagner and Strauss interpreter is impressively underscored by this, her first solo CD." (BĂĽhne, April 2006)
To read the full review, click here

Falstaff (DGG)

"Canadian soprano Adrianne Pieczonka is a musically impeccable and dramatically somewhat understated Alice, her rich, gleaming tone sounding particularly youthful and innocent opposite the droll, worldly Sir John of Terfel". (Opus, Winter 2001)

"Adrianne Pieczonka's Alice adds bloom to the purity of Dorothea Röschman's Nannetta...." (International Record Review, October 2001)

Don Giovanni (Naxos)

"Canadian soprano Adrianne Pieczonka, who has made a name for herself in Europe as a longtime member of the Vienna State Opera, is one of the standouts in this attractive set, recorded in November 2000 in Budapest. As Donna Anna, she cuts a striking figure, in a role she took on for her debut this past January at Covent Garden. Her opening trio with the Don and Leporello is a real delight. She brings a huge tone and impassioned intensity to her Act I accompanied recitative and aria Or sai chi l'onore, and she revels in her lyrical side in Act II's accompanied recitative and rondo." (Opera Canada, Spring 2002)

"Pieczonka, as Glyndborne audiences know, is...an accomplished and insightful Anna" (Opera, December 2001)

"Of the women, Adrianne Pieczonka, the Anna, is the best, with clear, bright tones..." (Grammaphone, December 2001)

Die Fledermaus (Nightingale Classics)

"The famous soprano with iron technique (Edita Gruberova) analyzes the problem rather more constructively and modestly without letting her reluctance to deal with certain challenges affect her judgement of the music: "I'm glad I don't sing Rosalinde on the stage, but I have always admired those soprano colleagues who can sing this murderously difficult role well. It's more difficult than any twenty-minute mad scene. It uses the voice in every register, you have to put colour, humour and charm into it." On the Nightingale set, A. Pieczonka succeeds in bringing just those elements to her performance with her warmly attractive, deliciously nuanced lyric soprano, never resorting to parody or calling undue attention to the strenuouses of Rosalinde's vocal patterns." (Opera Quarterly, Volume 10, Winter 2000)


From reviews of the Los Angeles production of Lohengrin, September 2001

"Canadian soprano Adrianne Pieczonka was the endearing Elsa, again spanning a wonderful range from the dreamy "Euch, Lüften" to her insistent cajoling in the bridal-chamber scene that brings on her downfall." (Opera News, December 2001)

Adrianne Pieczonka was an Elsa of heartbreaking purity." (Variety, September 17, 2001)

"As Elsa, Canadian soprano Adrianne Pieczonka was the brightest star with a lightish jeweled voice, even throughout its range of expressive coloring." (Orange County Register, September 18, 2001)

"As his Elsa Canadian soprano Adrianne Pieczonka boasted all the ideal equipment- a blossoming voice that floated soft tones to the upper balconies, enough amplitude to surmount the heavier passages and a blond beauty second only to her sensitive skills." (The Hollywood Reporter, September 18-24, 2001)

"The Canadian soprano Adrianne Pieczonka is a complex Elsa, transfixed by her visions but also insisting on a relationship with Lohengrin built on trust....Both [Adrianne Pieczonka and Gösta Winbergh] are satisfyingly ardent singers with generously lyrical voices." (Los Angeles Times, September 17, 2001)

From reviews of Roy Thomson Hall Recital Debut, Toronto (May 2001)

"There are few defences against the power of a beautiful voice. Adrianne Pieczonka's pearly soprano is as lustrous a sound as anyone could imagine, with a gleam from top to bottom and a particularly deep richness in its middle register." (The Globe and Mail, June 1, 2001)

"Pieczonka approaches each song from the inside out - arriving at personal, emotionally honest interpretations that make you hear even familiar songs as if for the first time. ... The Strauss songs - lush repertoire that her voice and heart were made for - were in fact the highlight of the program....(Vissi d'arte) was the one performance of the evening that actually moved me to tears - that primal kind of emotion that great opera singing unlocks." (National Post, May 31, 2001)

From a review of the Mellennium Opera Gala at Roy Thomson Hall, Toronto (December 31, 1999)

"Soprano Adrianne Pieczonka had a night in which every sound leaving her throat turned to pure gold. I am staggered that someone can walk out cold, on to the stage and sing Vissi d'Arte in a way that reveals every emotional shade of the aria and is as fine a piece of pure singing as you can hope to hear." (National Post, January 4, 2000)

From a review of the Orchesterlieder of Richard Strauss Nightingale Classics, 2000

"More than a third of the songs are sung by the young Canadian soprano, Adrianne Pieczonka, and she superbly masters all songs, especially the Four Last Songs. These are the lyric high point of the impressive "tour d'horizon" through these Strauss works."
(Neue Züricher Zeitung, January 2000)

From a review of Die Fledermaus Nightingale Classics, 2000

"The famous soprano with iron technique (Edita Gruberova) analyzes the problem rather more constructively and modestly without letting her reluctance to deal with certain challenges affect her judgement of the music: "I'm glad I don't sing Rosalinde on the stage, but I have always admired those soprano colleagues who can sing this murderously difficult role well. It's more difficult than any twenty-minute mad scene. It uses the voice in every register, you have to put colour, humour and charm into it." On the Nightingale set, A. Pieczonka succeeds in bringing just those elements to her performance with her warmly attractive, deliciously nuanced lyric soprano, never resorting to parody or calling undue attention to the strenuouses of Rosalinde's vocal patterns."
(Opera Quarterly, Volume 10, Winter 2000)






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