Hofinger Agentur

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ALL RIGHTS RESERVED © Emma McNairy 2022

Lübecker Nachrichten, 13/09/16


In diesem zweiten Teil der „Ariadne“ hat dann auch Zerbinetta ihren großen Auftritt. Die neu ins Ensemble gekommene Emma McNairy ist nicht nur eine wunderbare und durch ihre Frische und Beweglichkeit überzeugende Darstellerin, sie ist auch gesanglich auf der Höhe. Man kann hören, welch riesengroßes Potenzial in der jungen Stimme steckt. Nach der großen Koloraturarie bekam die Sängerin minutenlangen Szenenapplaus.
In this second part of the "Ariadne" also Zerbinetta has her big performance. The newly joined Emma McNairy is not only a wonderful and convincing by her freshness and agility as an actress, but also singing-wise at a high-level. You can hear the huge potential in the young voice. After the big coloratura aria the singer got minutes of applause.

HL-Live.de, 11/09/16
Lübecks Opernfreunde waren gespannt auf die neu ans Haus verpflichtete Amerikanerin Emma McNairy. Ihre Zerbinetta hatte nicht nur Witz und Spiellaune. Sie erhielt minutenlangen Szenenapplaus nach der halsbrecherischen Arie "Großmächtige Prinzessin".
Lübeck's opera friends were looking forward to the newly contracted American Emma McNairy. Her Zerbinetta was not just funny and playful. She received minutes of applause after the breakneck aria "Großmächtige Prinzessin".
 


Horst Schinzel, Der Neue Merker, 12/09/16


Die neu an die Trave verpflichtete amerikanische Koloratursopranistin Emma McNairy stellte sich in der Rolle der Zerbinetta vor und lässt für die Zukunft Großes erwarten. Für ihre Arie erhielt sie minutenlangen Szenenapplaus.
Newly signed to the Trave, American coloratura soprano Emma McNairy introduced herself in the role of Zerbinetta and can expect great things for the future. For her aria she received minutes of applause.

Arndt Voß, Unser Lübeck, 20/09/16


In der dritten großen Partie, der der Zerbinetta, stellte sich die Amerikanerin Emma McNairy als neues Ensemblemitglied vor. Mit ihren halsbrecherischen Koloraturen in ihrer Arie „Großmächtige Prinzessin“ begeisterte sie das Publikum und erhielt minutenlang Szenenapplaus.
In the third big part, the Zerbinetta, the American Emma McNairy introduced herself as a new member of the ensemble. With her breakneck coloratura in her aria "Großmächtige Prinzessin" she thrilled the audience and received applause for minutes.

VEREINIGUNG DEUTSCHER OPERNCHÖRE UND BÜHNENTÄNZER E.V., 20/09/16


Viel Lob gibt es für Gabriela Scherer als Ariadne sowie für Emma McNairy als Zerbinetta.
There is much praise for Gabriela Scherer as Ariadne and for Emma McNairy as Zerbinetta.

 

 

Ariadne auf Naxos
Theater Lübeck | 2016 / 2017

photo by Jochen Quast

 

photo by Jochen Quast

photo by Jochen Quast

photo by Jochen Quast

HL-Live.de, 6/02/17

 

Emma McNairy als französische Gräfin jonglierte halsbrecherisch mit Spitzentönen und Koloraturen.
Emma McNairy as the French Countess juggled neck-breaking top notes and coloratura.



Kieler Nachrichten, 6/02/17


Und Emma McNairy ließ als modenärrische Pariser Gräfin brillant die Koloratur-Zicke aufblitzen.
And Emma McNairy flashed brilliantly as a foolish Parisian countess, the coloratura-filled bitch.

Unser Lübeck, 7/02/17


Bei der Fülle der Sänger war es erfreulich, wie sicher sie alle waren, im Solo und in den vielen Ensembles, bei den Koloraturen wie beim Parlando. In den tragenden Frauenrollen waren als Soprane Evmorfia Metaxaki (Corinna), Emma McNairy (Folleville) und Andrea Stadel (Cortese) dabei, nahezu gleichrangig und sehr beweglich im Spiel.
In the abundance of singers, it was pleasing how sure they all were, in solosand in the many ensembles, in the coloratura as in the parlando. In the supporting women roles were sopranos Evmorfia Metaxaki (Corinna), Emma McNairy (Folleville) and Andrea Stadel (Cortese) here, almost equally ranked and very agile in acting.

 

Il Viaggio a Reims 
Theater Lübeck | 2017

Joshua Kosman, San Francisco Chronicle, 8/15/17


Ophelia may not be the title character, but she’s a doomed woman in a 19th century opera, so you just know the composer’s attention is focused on her above all. Soprano Emma McNairy, who has become the company’s matinée star after last summer’s turn in Thomas Adès’ “Powder Her Face” and her dazzling “Lulu” of the previous season, notched one more glorious addition to her catalog, adorning her Act 1 love duet with Hamlet with little sprays of perfectly placed coloratura and infusing the character’s final scene with unquenchable dramatic potency.

Georgia Rowe, Opera News, 8/5/17


Emma McNairy was a beguiling Ophélie. The soprano, memorable from previous West Edge appearances in the title role of Lulu and...in Powder Her Face, boasts a radiant instrument with a secure high extension. Her mad scene was mesmerizing, sung with a fine mixture of poignancy and abandon..."

Phillip Campbell, The Bay Area Reporter, 8/24/17


Out and proud soprano Emma McNairy returned to West Edge after praised performances in past festivals to create a glam goth Ophélie that was reason enough to revive the work. Her mind-blowing coloratura in the famous Mad Scene ranged from purest precision to strangulated gulps for air.

 Ilana Walder-Biesanz, Opera Vivrà


An exception is Ophelia’s coloratura scene of madness and death, performed in Oakland to perfection by soprano Emma McNairy.

Lois Silverstein, Opera Wire, 8/15/17


In fact, playing her many scenes, the expressive McNairy’s Ophelia claims more of the stage than Claudius, and, certainly, her father, Polonius. Lots of volume and full top register – she pulls out all the stops many times, some shrieks and all, in her mad scene – she plays the part with gusto, a wide variety of moods and expression, both vocal and dramatic. Not a doubt in the world that she doesn’t care about Hamlet and is going to go to a Nunnery/Cloister willingly.

James Roy Macbean, Berkeley Daily Planet, 8/19/17


The role of Ophélie is here sung by soprano Emma McNairy, and she handles the difficult coloratura of her mad scene with gorgeous singing. 

Ultimately, Ophélie becomes thoroughly unhinged by Hamlet’s apparent betrayal of their fervently professed love, and her mad scene becomes the highlight of Thomas’s Hamlet. As Ophélie, Emma McNairy made the most of her opportunity to show off her ability to sing bel canto coloratura. (Neither her spectacular 2014 title role in Alban Berg’s Lulu nor her role as the raunchy maid in last year’s Powder Her Face by Thomas Adès offered McNairy anything approaching bel canto.) While singing with increasingly frenzied flights of coloratura, Ophélie thinks she sees the image of Hamlet in the waters of a lake, and she wades into the water and drowns. Dramatically, this scene involved Ophélie’s voluminous blue skirt that became the water that swallows her up. 

Hamlet
West Edge Opera | 2017

photo by Corey Weaver

photo by Corey Weaver

photo by Corey Weaver

Emma McNairy | Soprano

Steven Winn, San Francisco Classical Voice, 8/7/17


...(the magnetic soprano Emma McNairy)...

About Ophélie’s mad scene, a bel canto showcase that is the longest scene in the opera: McNairy sings it with reckless conviction, her voice purring with childlike innocence and careering into desperate shrieks.
 

GüZ/Lübecker Stadtzeitung


Emma McNairys Koloraturen trillern superleicht in höchste Regionen, die das Publikum ebenso bewundern lassen, wie ihre Akrobatik.
Emma McNairy's coloratura trills super easy in the highest regions, which the audience admired, as well as her acrobatics.


Wolfgang Pardey, Lübeckischen Blätter


Emma McNairy als Zerbinetta lässt die Trillerketten perlen, fegt glanzvoll durch die Koloraturen – ein wahres Glitzerkunstwerk in „Großmächtige Prinzessin“. Und ebenso im Vorspiel, wo das neue Ensemblemitglied spielwütig und kokett agiert.
Emma McNairy as Zerbinetta leaves pearls in the chains of trills, sweeping glittering through the coloratura - a veritable glittering work of art in "Großmächtige Prinzessin." And also in the Vorspiel, where the new ensemble member acts playful and coquettish.