Montezuma, Theater Lübeck
Arndt Voß, Neue Musikzeitung, 30/01/20
Evmorfia Metaxaki gestaltete mit imponierender Leichtigkeit die Eupaforice, Montezumas Braut, und Emma McNairy die Erissena, ihre Vertraute. Beider Fähigkeit mit den barocken Manieren umzugehen, begeisterte immer wieder.
Evmorfia Metaxaki shaped with impressive ease the role of Eupaforice, Montezuma's bride, as did Emma McNairy, the Erissena, her confidante. Both of their ability to handle the baroque mannerisms excited again and again.
Andreas Ströbl, Der Opernfreund, 27/01/20
Die Solostinnen [...] bestachen allesamt durch gestochen-glasklare Wiedergabe der sehr anspruchsvollen Koloraturläufe. Vor allem Emma McNairy als Erissena, Emilia Galotti und Dienerin holte sich völlig verdient brandenden Szenenapplaus ab.
The solo [...] women all captivated through razor-clear reproduction of the very demanding coloratura runs. Above all, Emma McNairy as Erissena, Emilia Galotti and the servant received deservedly applause from the scene.
Christian Strehk, Kieler Nachrichten, 27/01/20
Wirklich stark: die weibliche Sängerriege. Mit bravouröser Attacke lässt beispielsweise Emma McNairy die hochvirtuosen Koloraturketten in den Arien der Dienerin Erissena aufflammen.
Really strong: the female singer group. Emma McNairy, for example, makes the highly virtuosic coloratura phrases in the arias of the servant Erissena blaze up with brilliant attack.
HL-Live.de, 27/01/20
Die Damen des Hauses müssen mehrere Partien singen und spielen. Sie tun das großartig, denn diese Musik mit ihren vielen barocken Verzierungen ist – pardon – sauschwer zu singen. Da waren die Bravorufe am Schluss angebracht. Zum Beispiel für die hinreißend gesungene, höllisch schwere Arie von Emma McNairy als Vertraute der Braut Montezumas.
The ladies of the house have to sing and act several parts. They do it great, and this music with its many baroque decorations is - sorry - difficult to sing. At the end, the bravo calls were appropriate. For example, for the gorgeously sung, hellishly difficult aria by Emma McNairy as confidante of Montezuma's bride.
Elisabeth Richter, Deutschlandfunk, 27/01/20
Das gesamte Sänger-Ensemble präsentierte sich auf sehr hohem Niveau: …atemberaubend die Koloraturen von Emma McNairy als Erissena…
The entire singer ensemble presented itself at a very high level:… breathtaking was the coloratura by Emma McNairy as Erissena…
Jürgen Feldhoff, Lübecker Nachrichten, 27/01/20
Emma McNairy hatte gesanglich mit die schwierigsten Aufgaben, sie meisterte ihre Koloraturen mit Leichtigkeit und Eleganz.
Emma McNairy had singing-wise the most difficult task; she mastered her coloratura with ease and elegance.
Arndt Voß, Neue Musikzeitung, 30/01/20
Evmorfia Metaxaki gestaltete mit imponierender Leichtigkeit die Eupaforice, Montezumas Braut, und Emma McNairy die Erissena, ihre Vertraute. Beider Fähigkeit mit den barocken Manieren umzugehen, begeisterte immer wieder.
Evmorfia Metaxaki shaped with impressive ease the role of Eupaforice, Montezuma's bride, as did Emma McNairy, the Erissena, her confidante. Both of their ability to handle the baroque mannerisms excited again and again.
Andreas Ströbl, Der Opernfreund, 27/01/20
Die Solostinnen [...] bestachen allesamt durch gestochen-glasklare Wiedergabe der sehr anspruchsvollen Koloraturläufe. Vor allem Emma McNairy als Erissena, Emilia Galotti und Dienerin holte sich völlig verdient brandenden Szenenapplaus ab.
The solo [...] women all captivated through razor-clear reproduction of the very demanding coloratura runs. Above all, Emma McNairy as Erissena, Emilia Galotti and the servant received deservedly applause from the scene.
Christian Strehk, Kieler Nachrichten, 27/01/20
Wirklich stark: die weibliche Sängerriege. Mit bravouröser Attacke lässt beispielsweise Emma McNairy die hochvirtuosen Koloraturketten in den Arien der Dienerin Erissena aufflammen.
Really strong: the female singer group. Emma McNairy, for example, makes the highly virtuosic coloratura phrases in the arias of the servant Erissena blaze up with brilliant attack.
HL-Live.de, 27/01/20
Die Damen des Hauses müssen mehrere Partien singen und spielen. Sie tun das großartig, denn diese Musik mit ihren vielen barocken Verzierungen ist – pardon – sauschwer zu singen. Da waren die Bravorufe am Schluss angebracht. Zum Beispiel für die hinreißend gesungene, höllisch schwere Arie von Emma McNairy als Vertraute der Braut Montezumas.
The ladies of the house have to sing and act several parts. They do it great, and this music with its many baroque decorations is - sorry - difficult to sing. At the end, the bravo calls were appropriate. For example, for the gorgeously sung, hellishly difficult aria by Emma McNairy as confidante of Montezuma's bride.
Elisabeth Richter, Deutschlandfunk, 27/01/20
Das gesamte Sänger-Ensemble präsentierte sich auf sehr hohem Niveau: …atemberaubend die Koloraturen von Emma McNairy als Erissena…
The entire singer ensemble presented itself at a very high level:… breathtaking was the coloratura by Emma McNairy as Erissena…
Jürgen Feldhoff, Lübecker Nachrichten, 27/01/20
Emma McNairy hatte gesanglich mit die schwierigsten Aufgaben, sie meisterte ihre Koloraturen mit Leichtigkeit und Eleganz.
Emma McNairy had singing-wise the most difficult task; she mastered her coloratura with ease and elegance.
Werther, Theater Lübeck
Birgit Kleinfeld, Das Opernmagazin, 19/11/18
Die Amerikanerin Emma McNairy singt die Sophie mit glockenklarem Sopran, der ein Lächeln auf Gesicht und ein „Was für eine schöne Stimme!“, in die Seele zaubert.
The American Emma McNairy sings Sophie with a bell-clear soprano, that conjures a smile on the face and, "What a beautiful voice!", into the soul.
G. Helbig, Das Opernglas, 16/11/18
Emma McNairy als Charlottes Schwester Sophie erfreut mit glockenhellem Sopran und unbeschwerter Spielfreude [...].
Emma McNairy as Charlotte's sister Sophie delights with bell-light soprano and carefree joy of acting [...].
Albrecht Thiemann, Opernwelt, 22/11/18
Das Orchester trifft, etwa im «Claire de Lune»- Zwischenspiel, die elegischen Pastelltöne, aber ebenso die Sphäre walzerseligen, trillerverzierten Frohsinns, den Emma McNairys Sophie mustergültig, mit kecker Agilität verkörpert.
The orchestra hits both the mournful pastel-tones, like in the "Clair de Lune" interlude, as well as the sphere of a blissful walz of trill-ornamented gaiety, which Emma McNairy’s Sophie embodied commendably with a perky agility.
Sven Godenrath, Ihr Opernratgeber, 16/11/18
Wioletta Hebrowska war als Charlotte mit ihrem dunklen, sinnlichen aber auch zur dramatischen Exstase fähigen Mezzosopran schlichtweg grandios; diese Rolle hört man heutzutage an keiner anderen Bühne besser interpretiert. Gleiches gilt auch für die Sophie von Emma McNairy mit ihrem silbrig schimmernden, charmanten Sopran: grandios.
Wioletta Hebrowska was as Charlotte with her dark, sensual but also capable of dramatic excitement mezzo-soprano simply terrific; This role can not be heard better interpreted at any other stage these days. The same applies to the Sophie by Emma McNairy with her silvery shimmering, charming soprano: terrific.
Arndt Voß, Neue Musikzeitung, 20/11/18
Bemerkenswert auch die Nebenpartien, die erst die Qualität eines Hauses unterstreichen. Sophie gab Emma McNairy das, was diese Figur auszeichnet, eine erfrischend mädchenhaft wirkende Schlankheit und Gelenkigkeit in Erscheinung und Stimme.
Noteworthy are also the minor parts, which only underline the quality of a house. Emma McNairy gave Sophie what distinguishes this figure: a refreshingly girly-looking slenderness and flexibility in appearance and voice.
HL-Live, 20/11/18
Emma McNairy als ihre Schwester Sophie kommt mit locker geführtem Sopran ebenfalls bestens zurecht.
Emma McNairy as her sister Sophie gets on well with an easily managed soprano.
shz, 20/11/18
Hübsch anzusehen und schön zu hören ist Emma McNairy als kleine, staksige Schwester Sophie.
Pretty to look at, and beautiful to hear is Emma McNairy as the younger, long-legged sister Sophie.
Birgit Kleinfeld, Das Opernmagazin, 19/11/18
Die Amerikanerin Emma McNairy singt die Sophie mit glockenklarem Sopran, der ein Lächeln auf Gesicht und ein „Was für eine schöne Stimme!“, in die Seele zaubert.
The American Emma McNairy sings Sophie with a bell-clear soprano, that conjures a smile on the face and, "What a beautiful voice!", into the soul.
G. Helbig, Das Opernglas, 16/11/18
Emma McNairy als Charlottes Schwester Sophie erfreut mit glockenhellem Sopran und unbeschwerter Spielfreude [...].
Emma McNairy as Charlotte's sister Sophie delights with bell-light soprano and carefree joy of acting [...].
Albrecht Thiemann, Opernwelt, 22/11/18
Das Orchester trifft, etwa im «Claire de Lune»- Zwischenspiel, die elegischen Pastelltöne, aber ebenso die Sphäre walzerseligen, trillerverzierten Frohsinns, den Emma McNairys Sophie mustergültig, mit kecker Agilität verkörpert.
The orchestra hits both the mournful pastel-tones, like in the "Clair de Lune" interlude, as well as the sphere of a blissful walz of trill-ornamented gaiety, which Emma McNairy’s Sophie embodied commendably with a perky agility.
Sven Godenrath, Ihr Opernratgeber, 16/11/18
Wioletta Hebrowska war als Charlotte mit ihrem dunklen, sinnlichen aber auch zur dramatischen Exstase fähigen Mezzosopran schlichtweg grandios; diese Rolle hört man heutzutage an keiner anderen Bühne besser interpretiert. Gleiches gilt auch für die Sophie von Emma McNairy mit ihrem silbrig schimmernden, charmanten Sopran: grandios.
Wioletta Hebrowska was as Charlotte with her dark, sensual but also capable of dramatic excitement mezzo-soprano simply terrific; This role can not be heard better interpreted at any other stage these days. The same applies to the Sophie by Emma McNairy with her silvery shimmering, charming soprano: terrific.
Arndt Voß, Neue Musikzeitung, 20/11/18
Bemerkenswert auch die Nebenpartien, die erst die Qualität eines Hauses unterstreichen. Sophie gab Emma McNairy das, was diese Figur auszeichnet, eine erfrischend mädchenhaft wirkende Schlankheit und Gelenkigkeit in Erscheinung und Stimme.
Noteworthy are also the minor parts, which only underline the quality of a house. Emma McNairy gave Sophie what distinguishes this figure: a refreshingly girly-looking slenderness and flexibility in appearance and voice.
HL-Live, 20/11/18
Emma McNairy als ihre Schwester Sophie kommt mit locker geführtem Sopran ebenfalls bestens zurecht.
Emma McNairy as her sister Sophie gets on well with an easily managed soprano.
shz, 20/11/18
Hübsch anzusehen und schön zu hören ist Emma McNairy als kleine, staksige Schwester Sophie.
Pretty to look at, and beautiful to hear is Emma McNairy as the younger, long-legged sister Sophie.
Ball im Savoy, Theater Lübeck
Sven Godenrath, Ihr Opernratgeber, 8/9/18
Emma McNairy- eine großartige Stütze des Sängerensembles am Theater Lübeck – als Madeleine war schlichtweg sensationell; mit ihrem silbrig-warmen, sinnlichen Sopran, gelang ihr eine grandiose Rollencharakterisierung mit wundervollen Koloraturen.
Als Tangolita brillierte Angelika Milster, mit Ausdruck und Temperament, einer Priese Humor und ihrer unvergleichlich schön timbrierten Stimme (unvergesslich ihre Interpretation von „Erinnerungen“ aus Cats und ihre bravouröse Songs and Dance Performance in Berlin, welche auf Tonträger veröffentlicht wurde). Sie zählt nicht umsonst zu den besten Musicalinterpretinnen seit Barbra Streisand. An diesem Abend war sie einmal mehr umwerfend komisch und gesanglich mit Emma McNairy in einer Klasse für sich.
Emma McNairy - a great support of the singer ensemble at Theater Lübeck - as Madeleine was simply sensational; with her silvery-warm, sensual soprano, she managed a terrific role characterization with wonderful coloratura.
As Tangolita Angelika Milster excelled, with expression and temperament, a pinch of humor and her incomparably beautifully timbred voice (unforgettable was her interpretation of "Memory" from Cats and her brilliant Songs and Dance Performance in Berlin, which was released on in an album. It is not without reason that she is one of the best musical interpreters since Barbra Streisand. That evening, she was once again staggeringly funny, and vocally, with Emma McNairy, in a class of her own.
Jürgen Feldhoff, Lübecker Nachrichten, 3/9/18
Von Emma McNairy weiß man, dass sie über eine wunderschöne hohe Sopranstimme verfügt. Und diese setzt sie jetzt auch im Operettenfach vorzüglich ein. In ihrer Rolle als Madeleine ist sie gesanglich und darstellerisch einer der Stars des Abends.
From Emma McNairy, one knows that she has a gorgeous high soprano voice. And she uses it in the operetta Fach excellently. In her role as Madeleine, she is vocally and acting-wise one of the stars of the evening.
Arndt Voß, Neue Musikzeitung, 4/9/18
Ein weiterer Glanzpunkt ist Lübecks koloraturenmächtige Sopranistin Emma McNairy. Sie ist als junge und schlanke, dazu sich wunderbar bewegende Eifersuchtsfurie Madeleine ideal besetzt.
Another highlight is Lübeck's powerful coloratura soprano Emma McNairy. She is ideally cast as a young and slender, wonderfully moving, jealous Madeleine.
Karin Lubowski, shz
Ehefrau Madeleine sinnt auf Rache, wählt als Ort des Showdowns den Ball im Savoy. McNairy ist mit ihrem strahlenden Sopran in dieser Rolle ein Erlebnis [...].
The wife Madeleine seeks revenge, chooses the ball in Savoy as a showdown venue. McNairy, with her radiant soprano, in this role is an experience [...].
Helga Rottmann, Unser Lübeck, 13/9/18
Die Protagonisten singen und spielen mit Euphorie und sind klasse. Da begeistert Emma McNairy als Madeleine, gutaussehend und beweglich setzt sie ihren Sopran ein.
The protagonists sing and act with euphoria and are smashing. Emma McNairy thrilled as Madeleine; she is good-looking and uses her soprano with agility.
HL-Live, 2/9/18
Emma McNairy als jung getraute Marquise kann ihren Sopran in höchsten Höhen strahlen lassen.
Emma McNairy, as the newlywed young marquise, can beam her soprano to the highest heights.
Klaus J. Loderer, OpernLoderer, 7/9/18
Sopranistin Emma McNairy ist als elegante Madeleine hervorragend besetzt und bleibt uns in den Höhen nichts schuldig.
Soprano Emma McNairy is superbly posed as an elegant Madeleine and owes us nothing in the heights.
Lübeckische Blätter
Emma McNairy als Madeleine glänzt darstellerisch profund und mit dem wunderbaren Glanz ihres Soprans.
Emma McNairy as Madeleine shines profoundly as a performer, and with the wonderful brilliance of her soprano.
Sven Godenrath, Ihr Opernratgeber, 8/9/18
Emma McNairy- eine großartige Stütze des Sängerensembles am Theater Lübeck – als Madeleine war schlichtweg sensationell; mit ihrem silbrig-warmen, sinnlichen Sopran, gelang ihr eine grandiose Rollencharakterisierung mit wundervollen Koloraturen.
Als Tangolita brillierte Angelika Milster, mit Ausdruck und Temperament, einer Priese Humor und ihrer unvergleichlich schön timbrierten Stimme (unvergesslich ihre Interpretation von „Erinnerungen“ aus Cats und ihre bravouröse Songs and Dance Performance in Berlin, welche auf Tonträger veröffentlicht wurde). Sie zählt nicht umsonst zu den besten Musicalinterpretinnen seit Barbra Streisand. An diesem Abend war sie einmal mehr umwerfend komisch und gesanglich mit Emma McNairy in einer Klasse für sich.
Emma McNairy - a great support of the singer ensemble at Theater Lübeck - as Madeleine was simply sensational; with her silvery-warm, sensual soprano, she managed a terrific role characterization with wonderful coloratura.
As Tangolita Angelika Milster excelled, with expression and temperament, a pinch of humor and her incomparably beautifully timbred voice (unforgettable was her interpretation of "Memory" from Cats and her brilliant Songs and Dance Performance in Berlin, which was released on in an album. It is not without reason that she is one of the best musical interpreters since Barbra Streisand. That evening, she was once again staggeringly funny, and vocally, with Emma McNairy, in a class of her own.
Jürgen Feldhoff, Lübecker Nachrichten, 3/9/18
Von Emma McNairy weiß man, dass sie über eine wunderschöne hohe Sopranstimme verfügt. Und diese setzt sie jetzt auch im Operettenfach vorzüglich ein. In ihrer Rolle als Madeleine ist sie gesanglich und darstellerisch einer der Stars des Abends.
From Emma McNairy, one knows that she has a gorgeous high soprano voice. And she uses it in the operetta Fach excellently. In her role as Madeleine, she is vocally and acting-wise one of the stars of the evening.
Arndt Voß, Neue Musikzeitung, 4/9/18
Ein weiterer Glanzpunkt ist Lübecks koloraturenmächtige Sopranistin Emma McNairy. Sie ist als junge und schlanke, dazu sich wunderbar bewegende Eifersuchtsfurie Madeleine ideal besetzt.
Another highlight is Lübeck's powerful coloratura soprano Emma McNairy. She is ideally cast as a young and slender, wonderfully moving, jealous Madeleine.
Karin Lubowski, shz
Ehefrau Madeleine sinnt auf Rache, wählt als Ort des Showdowns den Ball im Savoy. McNairy ist mit ihrem strahlenden Sopran in dieser Rolle ein Erlebnis [...].
The wife Madeleine seeks revenge, chooses the ball in Savoy as a showdown venue. McNairy, with her radiant soprano, in this role is an experience [...].
Helga Rottmann, Unser Lübeck, 13/9/18
Die Protagonisten singen und spielen mit Euphorie und sind klasse. Da begeistert Emma McNairy als Madeleine, gutaussehend und beweglich setzt sie ihren Sopran ein.
The protagonists sing and act with euphoria and are smashing. Emma McNairy thrilled as Madeleine; she is good-looking and uses her soprano with agility.
HL-Live, 2/9/18
Emma McNairy als jung getraute Marquise kann ihren Sopran in höchsten Höhen strahlen lassen.
Emma McNairy, as the newlywed young marquise, can beam her soprano to the highest heights.
Klaus J. Loderer, OpernLoderer, 7/9/18
Sopranistin Emma McNairy ist als elegante Madeleine hervorragend besetzt und bleibt uns in den Höhen nichts schuldig.
Soprano Emma McNairy is superbly posed as an elegant Madeleine and owes us nothing in the heights.
Lübeckische Blätter
Emma McNairy als Madeleine glänzt darstellerisch profund und mit dem wunderbaren Glanz ihres Soprans.
Emma McNairy as Madeleine shines profoundly as a performer, and with the wonderful brilliance of her soprano.
Il Barbiere di Siviglia, Theater Lübeck
J. Gahre, Das Opernglas, 28/1/18
Rundherum gefallen konnte auch Emma McNairy als spitzzüngige Rosina. Ihr halsbrecherisch schwieriges „Una voce poco fa“ bekam verdienten Szenenapplaus.
Emma McNairy is also liked all around as the sharp-tongued Rosina. Her neck-breaking difficult "Una voce poco fa" got deserved applause.
J. Gahre, Das Opernglas, 28/1/18
Rundherum gefallen konnte auch Emma McNairy als spitzzüngige Rosina. Ihr halsbrecherisch schwieriges „Una voce poco fa“ bekam verdienten Szenenapplaus.
Emma McNairy is also liked all around as the sharp-tongued Rosina. Her neck-breaking difficult "Una voce poco fa" got deserved applause.
Carmina, Theater Lübeck
Jürgen Feldhoff, Lübecker Nachrichten, 11/9/17
Emma McNairy überstrahlte mit ihrem klaren und weiblich timbrierten Sopran das Solistenensemble. Im „Combattimento“ hatte sie kaum etwas zu tun, in Orffs Werk bestach sie durch die Beweglichkeit ihrer Stimme.
Emma McNairy outshone the soloist ensemble with her clear and feminine timbre soprano. In "Combattimento" she had little to do; in Orff's work she excelled through the agility of her voice.
Ihr Opernratgeber, 19/09/17
Per Hakan Precht, der als Erzähler im Mittelpunkt des ersten Teils stand; Emma McNairy und Johan Hyunbong Choi hatten nur zwei kurze, vokale Einschübe zu singen; alle drei waren stimmlich hervorragend.
Emma McNairy, die schon als Zerbinetta in Lübeck für Furore sorgte, war an diesem Abend in der Sopranrolle sensationell: ein perlendes, silbriges Stimmtimbre, wie man es in dieser berührenden Vollendung nicht alle Tage geboten bekommt.
Per Hakan Precht, who was the narrator in the center of the first part; Emma McNairy and Johan Hyunbong Choi had only two short vocal inserts to sing; all three were vocally outstanding.
Emma McNairy, who already caused a sensation as Zerbinetta in Lübeck, was sensational in the soprano role that evening: a sparkling, silvery voice-tune, which is not offered every day in this touching perfection.
shz.de
...Der Chor ist grandios, McNairy und Choi, auch hier dabei, sind in Hochform,...
... The choir is terrific, McNairy and Choi, also here, are in top form,...
Lübecker Stadtzeitung
...Emma McNairy überzeugt mit sensiblem Sopran...
...Emma McNairy convinces with a sensitive soprano...
HL-Live
In beiden Werken überzeugen die Solisten, Emma McNairy mit wandlungsfähigem Sopran, Johan Hyunbong Choi mit voluminösem Bassbariton.
In both works, the soloists convince- Emma McNairy with versatile soprano, Johan Hyunbong Choi with voluminous bass baritone.
Arndt Voß, Unser-Lübeck, 12/09/17
...Nur wenige Sätze hatten sie zu singen, der Sopran mit klarem, dennoch weichem Ausdruck...
...She had only a few sentences to sing, the soprano with a clear, yet soft expression...
Jürgen Feldhoff, Lübecker Nachrichten, 11/9/17
Emma McNairy überstrahlte mit ihrem klaren und weiblich timbrierten Sopran das Solistenensemble. Im „Combattimento“ hatte sie kaum etwas zu tun, in Orffs Werk bestach sie durch die Beweglichkeit ihrer Stimme.
Emma McNairy outshone the soloist ensemble with her clear and feminine timbre soprano. In "Combattimento" she had little to do; in Orff's work she excelled through the agility of her voice.
Ihr Opernratgeber, 19/09/17
Per Hakan Precht, der als Erzähler im Mittelpunkt des ersten Teils stand; Emma McNairy und Johan Hyunbong Choi hatten nur zwei kurze, vokale Einschübe zu singen; alle drei waren stimmlich hervorragend.
Emma McNairy, die schon als Zerbinetta in Lübeck für Furore sorgte, war an diesem Abend in der Sopranrolle sensationell: ein perlendes, silbriges Stimmtimbre, wie man es in dieser berührenden Vollendung nicht alle Tage geboten bekommt.
Per Hakan Precht, who was the narrator in the center of the first part; Emma McNairy and Johan Hyunbong Choi had only two short vocal inserts to sing; all three were vocally outstanding.
Emma McNairy, who already caused a sensation as Zerbinetta in Lübeck, was sensational in the soprano role that evening: a sparkling, silvery voice-tune, which is not offered every day in this touching perfection.
shz.de
...Der Chor ist grandios, McNairy und Choi, auch hier dabei, sind in Hochform,...
... The choir is terrific, McNairy and Choi, also here, are in top form,...
Lübecker Stadtzeitung
...Emma McNairy überzeugt mit sensiblem Sopran...
...Emma McNairy convinces with a sensitive soprano...
HL-Live
In beiden Werken überzeugen die Solisten, Emma McNairy mit wandlungsfähigem Sopran, Johan Hyunbong Choi mit voluminösem Bassbariton.
In both works, the soloists convince- Emma McNairy with versatile soprano, Johan Hyunbong Choi with voluminous bass baritone.
Arndt Voß, Unser-Lübeck, 12/09/17
...Nur wenige Sätze hatten sie zu singen, der Sopran mit klarem, dennoch weichem Ausdruck...
...She had only a few sentences to sing, the soprano with a clear, yet soft expression...
Hamlet, West Edge Opera
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 matinee 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, despite the distraction of Umezawa’s staging. In the director’s most significant misstep, Ophélie, wearing a transparent skirt, went to her watery death as nymphs appeared under the fabric, visibly snatching at her from underneath. It was an ungainly device that detracted from the beauty and elegance of McNairy’s singing.
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.
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.
Victor Cordell, ForAllEvents.info, 8/7/17
But the fireworks arise in perhaps the most significant piece from the work, Ophélie’s mad scene. Here, shimmering soprano Emma McNairy adeptly raises her voice to the harsh screech necessary as she prepares to drown herself.
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.
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 matinee 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, despite the distraction of Umezawa’s staging. In the director’s most significant misstep, Ophélie, wearing a transparent skirt, went to her watery death as nymphs appeared under the fabric, visibly snatching at her from underneath. It was an ungainly device that detracted from the beauty and elegance of McNairy’s singing.
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.
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.
Victor Cordell, ForAllEvents.info, 8/7/17
But the fireworks arise in perhaps the most significant piece from the work, Ophélie’s mad scene. Here, shimmering soprano Emma McNairy adeptly raises her voice to the harsh screech necessary as she prepares to drown herself.
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.
Il Viaggio a Reims, Theater Lübeck
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 the play.
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 the play.
Ariadne auf Naxos, Theater Lübeck
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".
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.
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.
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".
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.
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.
Powder Her Face, West Edge Opera
Judith Malafronte, Opera News, 7/31/16
West Edge Opera's cast of four superb singing actors maintained vocal and dramatic control while portraying a variety of sexual acts including masturbation, threesomes, oral sex and voyeurism...Emma McNairy's snippy maid, nosy journalist and gossipy onlooker highlighted her nimble, bright-edged soprano, laughing with cruel abandon in stratospheric high notes and projecting every word easily.
Allan Ulrich, The Financial Times, 8/2/16
As sundry maids and reporters, soprano Emma McNairy negotiated Adès’s punishing tessitura with sublime ease.
Joshua Kosman, The San Francisco Chronicle, 8/1/16
The rest of the cast (at the composer’s instruction) filled a whirlwind of supporting roles, and all were sensational. Soprano Emma McNairy matched her Lulu from last summer for glittering vocal precision and charismatic stage demeanor, from a hilariously resentful hotel maid to a newspaper reporter nonplussed by the Duchess’ sudden outbursts of right-wing crankery.
Steven Winn, San Francisco Classical Voice, 8/1/16
Soprano Emma McNairy, who uses a slatternly impishness and potent, flutey voice to shine in a sequence of supporting roles, is joined by the fine and antic tenor Jonathan Blalock for a predatory romp.
Ilana Walder-Biesanz, Bachtrack.com, 8/14/16
Soprano Emma McNairy and tenor Jonathan Blalock filled a dizzying array of secondary roles: maid, confidante, journalist, electrician, and delivery boy, to name a few. McNairy tossed off pitches far above the staff while crawling and tumbling about the stage. In particular, “fancy, fancy being rich” showed off her sparkling top notes, wide range, and engaging stage presence.
Georgia Rowe, San Jose Mercury News, 8/1/16
The West Edge cast was outstanding...Emma McNairy, returning from a triumph in the title role of last season's "Lulu," brought vibrant vocalism and indelible stage presence to the role of the Maid.
Philip Campbell, Bay Area Reporter, 8/11/16
Alban Berg and even a whiff of Richard Strauss mingle with splintered tangos and nostalgic dance music, but the brutally high tessitura assigned to Emma McNairy in various roles doesn't suggest much kindness from Adès towards sopranos. McNairy is up to the task, even when the sheer volume of her singing threatens to shatter glass. Her clarity and sassy acting, not to mention her fetching look in schoolgirl gear, captivated the crowd. The man next to me turned to his female companion and said, "Isn't she wonderful?"
The eye-candy casting was evenly spread throughout the four-member cast.
Victor Cordell, For All Events: Reviews & Views, 8/1/16
Emma McNairy plays several vibrant and sexy roles, the most prominent of which are maids...All voices are more than competent as we’ve come to expect from West Edge productions, and the acting is of theatrical quality. This is no stand and deliver. If one performer stands out, it would be McNairy. Interestingly, her maids’ roles in Act 1 are larger than the Duchess’s, and her high soprano is repeatedly asked to engage in supersonic shrieks, which she executes with exactitude.
Charlise Tiee, The Opera Tattler, 7/31/16
...the four singers were massively impressive, and all sounded and looked great...Soprano Emma McNairy also sang with power and nonchalance, hitting all sorts of notes in her upper register without simply sounding like a squeak toy.
Michael Strickland, Civic Center Blog, 8/2/16
Tenor Jonathan Blalock, soprano Emma McNairy and baritone Hadleigh Adams played a kaleidoscope of supporting roles, everything from from maids to rent boys to journalists to lounge lizards and they were astonishingly good at all.
Judith Malafronte, Opera News, 7/31/16
West Edge Opera's cast of four superb singing actors maintained vocal and dramatic control while portraying a variety of sexual acts including masturbation, threesomes, oral sex and voyeurism...Emma McNairy's snippy maid, nosy journalist and gossipy onlooker highlighted her nimble, bright-edged soprano, laughing with cruel abandon in stratospheric high notes and projecting every word easily.
Allan Ulrich, The Financial Times, 8/2/16
As sundry maids and reporters, soprano Emma McNairy negotiated Adès’s punishing tessitura with sublime ease.
Joshua Kosman, The San Francisco Chronicle, 8/1/16
The rest of the cast (at the composer’s instruction) filled a whirlwind of supporting roles, and all were sensational. Soprano Emma McNairy matched her Lulu from last summer for glittering vocal precision and charismatic stage demeanor, from a hilariously resentful hotel maid to a newspaper reporter nonplussed by the Duchess’ sudden outbursts of right-wing crankery.
Steven Winn, San Francisco Classical Voice, 8/1/16
Soprano Emma McNairy, who uses a slatternly impishness and potent, flutey voice to shine in a sequence of supporting roles, is joined by the fine and antic tenor Jonathan Blalock for a predatory romp.
Ilana Walder-Biesanz, Bachtrack.com, 8/14/16
Soprano Emma McNairy and tenor Jonathan Blalock filled a dizzying array of secondary roles: maid, confidante, journalist, electrician, and delivery boy, to name a few. McNairy tossed off pitches far above the staff while crawling and tumbling about the stage. In particular, “fancy, fancy being rich” showed off her sparkling top notes, wide range, and engaging stage presence.
Georgia Rowe, San Jose Mercury News, 8/1/16
The West Edge cast was outstanding...Emma McNairy, returning from a triumph in the title role of last season's "Lulu," brought vibrant vocalism and indelible stage presence to the role of the Maid.
Philip Campbell, Bay Area Reporter, 8/11/16
Alban Berg and even a whiff of Richard Strauss mingle with splintered tangos and nostalgic dance music, but the brutally high tessitura assigned to Emma McNairy in various roles doesn't suggest much kindness from Adès towards sopranos. McNairy is up to the task, even when the sheer volume of her singing threatens to shatter glass. Her clarity and sassy acting, not to mention her fetching look in schoolgirl gear, captivated the crowd. The man next to me turned to his female companion and said, "Isn't she wonderful?"
The eye-candy casting was evenly spread throughout the four-member cast.
Victor Cordell, For All Events: Reviews & Views, 8/1/16
Emma McNairy plays several vibrant and sexy roles, the most prominent of which are maids...All voices are more than competent as we’ve come to expect from West Edge productions, and the acting is of theatrical quality. This is no stand and deliver. If one performer stands out, it would be McNairy. Interestingly, her maids’ roles in Act 1 are larger than the Duchess’s, and her high soprano is repeatedly asked to engage in supersonic shrieks, which she executes with exactitude.
Charlise Tiee, The Opera Tattler, 7/31/16
...the four singers were massively impressive, and all sounded and looked great...Soprano Emma McNairy also sang with power and nonchalance, hitting all sorts of notes in her upper register without simply sounding like a squeak toy.
Michael Strickland, Civic Center Blog, 8/2/16
Tenor Jonathan Blalock, soprano Emma McNairy and baritone Hadleigh Adams played a kaleidoscope of supporting roles, everything from from maids to rent boys to journalists to lounge lizards and they were astonishingly good at all.
Tancredi, Cantata Profana
New York Music Daily Blog, 1/22/16
To wind up the bill, the group employs a rather mystical diptych by Giulio Caccini to set up Monteverdi’s famous early operatic piece Il Combattimento di Tancredi e Clorinda, sung with appropriate drama by tenor Samuel Levine with support from Woody and scintillating soprano Emma McNairy (whose raw power, unleashed in the small Williamsburg space, provided the night’s most adrenalizing moments).
New York Music Daily Blog, 1/22/16
To wind up the bill, the group employs a rather mystical diptych by Giulio Caccini to set up Monteverdi’s famous early operatic piece Il Combattimento di Tancredi e Clorinda, sung with appropriate drama by tenor Samuel Levine with support from Woody and scintillating soprano Emma McNairy (whose raw power, unleashed in the small Williamsburg space, provided the night’s most adrenalizing moments).
Lulu, West Edge Opera
Allan Ulrich, The Financial Times, 7/27/15
In the title role, Emma McNairy combined physical allure, arching, silvery soprano and superior German. Beyond vocal splendour, this Lulu succeeded in projecting an oddly enigmatic image, a reflection of the desires of those whom she has ensnared.
Jeffery S. McMillan, Opera News, 7/25/15
In voice, figure, and deportment, it is difficult to image wanting more from a Lulu than what soprano Emma McNairy presented in her role debut. Possessing a voice of unexpected range, power, and endurance for so young an artist, not to mention a pure silvery tone from bottom to ringing top, McNairy's portrayal moved from strength to strength throughout the performance, communicating the character's accumulation of experience with fearless poise. Her decline after serving time in prison for murdering Dr. Schön was pitiful and sympathetic. The clarity of her diction and powerful emission filled the room with ease and she dominated each scene until Lulu's luck finally runs out at the hands of Jack the Ripper.
Joshua Kosman, The San Francisco Chronicle, 7/26/15
Emma McNairy is the embodiment of sexual enchantment, of fundamental and amoral urges in West Edge Opera’s “Lulu.”
There is plenty of credit to spread around for the production’s success, but the evening’s obvious centerpiece is soprano Emma McNairy’s breathtakingly fine performance in the title role.
The challenges of this assignment are legion. As the embodiment of sexual enchantment, of fundamental and amoral urges, Lulu is the object of everyone else’s desire without existing as a character in her own right. Yet Berg gives her the opera’s most ardent and expressive vocal writing, a demanding and extended stream of melody that is at once angular, forceful and glitteringly alluring.
It falls to the soprano to bridge that gap — to uncover the gleaming sensuality that lies just below the surface of Berg’s twelve-tone musical language — and McNairy did that flawlessly. She caressed and cajoled the notes until they shimmered; she unleashed potent, high-flying bursts of fine-tuned melody, then dropped into conversational stretches of pointed eloquence.
And in a superb bit of theatrical jujitsu, McNairy took the physical degradations of the assignment and turned them back onto the world. Director Elkhanah Pulitzer was merciless in what she required of McNairy, from complete onstage nudity to extravagantly detailed simulations of sex, and from each one McNairy emerged even more dignified and assured.
If McNairy was the evening’s lodestar, the rest of the cast, under the crisp but flexible leadership of Music Director Jonathan Khuner, held up its end with vibrant aplomb.
Jeff Dunn, San Francisco Classical Voice, 7/28/15
And onstage, coloratura Emma McNairy was the sexiest and most vocally agile Lulu imaginable. In an opera driven by the primordial urge to copulate, director Elkhanah Pulitzer made sure that McNairy utilized every inch of her body to fullest effect.
Charlise Tiee, KQED Arts, 7/29/15
In the role of Lulu, Emma McNairy has clearly come into her own. Her commitment to the character is unequivocal and her sound is agile despite how easily those piercing high notes could have rung shrill or hollow.
Georgia Rowe, San Jose Mercury News, 7/27/15
Heading a strong cast was the sensational Emma McNairy. The soprano traced the title character's descent from sex kitten to debased streetwalker with shining vocalism and pliant physicality -- her Lulu is a blank canvas on which men project their fantasies.
Jaime Robles, Repeat Performances, 8/7/15
Lulu – and what a part is Lulu! – was sung by Emma McNairy, who provided her character not only with convincing physical beauty, revealed in moments of full-frontal nudity, among others, but with an eyebrow-lifting, eye-popping ability to sing terrifyingly high notes strung out in musical phrases that retained a melodic line.
Director Elkhanah Pulitzer took full advantage of McNairy’s talents, providing opportunities for the soprano’s balletic and acrobatic skills.
Cindy Warner, San Francisco Opera Examiner, 8/15/15
Only rising superstar soprano Emma McNairy could be this Lulu because of her stunning beauty and power, exactly what the femme fatale title role demands. The resulting masterpiece by West Edge Opera should define a new style of the art form and a new heroine.
Lisa Hirsch, The Iron Tongue of Midnight, Classical Music Blog, 7/25/15
The beautiful and charismatic Emma McNairy stars as Lulu herself, and sings and acts the hell out of an exceptionally long and difficult role. She sounds and looks great throughout, with the range, volume, and expressiveness a soprano needs for Lulu.
Paul Hertelendy, artssf.com, 8/13/15
The star of the night was coloratura Emma McNairy in the title role, willing to do anything to activate her role, even if it took appearing in the altogether more than once. Her stunning svelte figure was idea for the role, and her voice was appealing and electric, seemingly with no upper bound.
Charles Shere, The Eastside View, Blog
The opera centers of course on its title role, and I can’t imagine a better Lulu than Emma McNairy, who sings and acts with utter conviction and fabulous technique.
"Lulu on the Edge", by Mark Rudio, A Beast in a Jungle: San Francisco Performing Arts, Culture, Calendar & Reviews, 8/8/15
I bring up Petersen (and her age) because Emma McNairy, the key to West Edge Opera‘s stunningly successful production of Berg’s opera, is making her debut in the role at the age of 27. If Petersen’s Lulu is dangerous because of what she knows, McNairy’s Lulu is lethal because of what she possesses, or at least exudes on stage: a raw sexuality, not fully formed, untamed and still wild (sure, let’s talk about projected male desire). Only once, maybe twice, in twenty years of attending operas have I seen a singer so perfectly matched to a role. McNairy’s alluring soprano had no problem tackling the intricacies of Berg’s thorny score, or filling the cavernous Oakland Train Station where the production took place. If she can make the same impact in larger halls with full orchestra (West Edge used a reduced orchestra), the role could be hers for decades.
Displaying an acrobatic and physical agility rarely seen in opera singers, McNairy’s physical and vocal presence owns the stage long before she rises from an onstage bath and stands nude before the audience, toweling herself off in a meta display of Lulu’s power, and her own.
James Roy MacBean, Berkeley Daily Planet, 7/26/15
I have seen some great Lulus in my day – Anja Silja in San Francisco in 1971, the brilliant Teresa Stratas at the Met in 1981, and Ann Panagulias in San Francisco in 1989 – but I must credit local soprano Emma McNairy for her own striking interpretation of the role of Lulu in the current West Edge Opera production. As Jonathan Khuner says, Lulu is all about sex! Well, Emma McNairy as Lulu fairly exudes sex from every pore of her body, and she reveals all in several nude scenes. And, oh yes, Emma McNairy sings brilliantly in this terribly difficult, often strident vocal material. Berg wrote this opera in his twelve-tone style, and most of Lulu’s singing is quite dissonant, full of violent leaps and jagged edges.
As a closing remark, I must mention the outstanding staging of this opera by director Elkhanah Pulitzer and the brilliant conducting by Jonathan Khuner. Together with this excellent cast headed by the stunning Emma McNairy, they made Berg’s Lulu come vibrantly alive.
Mark Rudio, A Beast in a Jungle: San Francisco Performing Arts, Culture Calendar & Reviews, 7/26/15
Emma McNairy holds nothing back in a sexually charged, unforgettable turn in the title role, and under Elkhanah Pulitzer’s strong direction, this production look like a Max Beckmann painting come to life. Everything about it works.
Kinderkuchen for the FBI: Entertainment Weekly for Opera, 7/27/15
Emma McNairy is a brave and talented young woman.
Joshua Kosman, The San Francisco Chronicle, 12/23/15 - Top 10 Operatic Events of 2015
Even by the high standards of the West Edge Opera, this bold and inventive production of Berg’s Expressionist masterpiece, with soprano Emma McNairy’s dazzling star turn in the title role, was a triumph.
Allan Ulrich, The Financial Times, 7/27/15
In the title role, Emma McNairy combined physical allure, arching, silvery soprano and superior German. Beyond vocal splendour, this Lulu succeeded in projecting an oddly enigmatic image, a reflection of the desires of those whom she has ensnared.
Jeffery S. McMillan, Opera News, 7/25/15
In voice, figure, and deportment, it is difficult to image wanting more from a Lulu than what soprano Emma McNairy presented in her role debut. Possessing a voice of unexpected range, power, and endurance for so young an artist, not to mention a pure silvery tone from bottom to ringing top, McNairy's portrayal moved from strength to strength throughout the performance, communicating the character's accumulation of experience with fearless poise. Her decline after serving time in prison for murdering Dr. Schön was pitiful and sympathetic. The clarity of her diction and powerful emission filled the room with ease and she dominated each scene until Lulu's luck finally runs out at the hands of Jack the Ripper.
Joshua Kosman, The San Francisco Chronicle, 7/26/15
Emma McNairy is the embodiment of sexual enchantment, of fundamental and amoral urges in West Edge Opera’s “Lulu.”
There is plenty of credit to spread around for the production’s success, but the evening’s obvious centerpiece is soprano Emma McNairy’s breathtakingly fine performance in the title role.
The challenges of this assignment are legion. As the embodiment of sexual enchantment, of fundamental and amoral urges, Lulu is the object of everyone else’s desire without existing as a character in her own right. Yet Berg gives her the opera’s most ardent and expressive vocal writing, a demanding and extended stream of melody that is at once angular, forceful and glitteringly alluring.
It falls to the soprano to bridge that gap — to uncover the gleaming sensuality that lies just below the surface of Berg’s twelve-tone musical language — and McNairy did that flawlessly. She caressed and cajoled the notes until they shimmered; she unleashed potent, high-flying bursts of fine-tuned melody, then dropped into conversational stretches of pointed eloquence.
And in a superb bit of theatrical jujitsu, McNairy took the physical degradations of the assignment and turned them back onto the world. Director Elkhanah Pulitzer was merciless in what she required of McNairy, from complete onstage nudity to extravagantly detailed simulations of sex, and from each one McNairy emerged even more dignified and assured.
If McNairy was the evening’s lodestar, the rest of the cast, under the crisp but flexible leadership of Music Director Jonathan Khuner, held up its end with vibrant aplomb.
Jeff Dunn, San Francisco Classical Voice, 7/28/15
And onstage, coloratura Emma McNairy was the sexiest and most vocally agile Lulu imaginable. In an opera driven by the primordial urge to copulate, director Elkhanah Pulitzer made sure that McNairy utilized every inch of her body to fullest effect.
Charlise Tiee, KQED Arts, 7/29/15
In the role of Lulu, Emma McNairy has clearly come into her own. Her commitment to the character is unequivocal and her sound is agile despite how easily those piercing high notes could have rung shrill or hollow.
Georgia Rowe, San Jose Mercury News, 7/27/15
Heading a strong cast was the sensational Emma McNairy. The soprano traced the title character's descent from sex kitten to debased streetwalker with shining vocalism and pliant physicality -- her Lulu is a blank canvas on which men project their fantasies.
Jaime Robles, Repeat Performances, 8/7/15
Lulu – and what a part is Lulu! – was sung by Emma McNairy, who provided her character not only with convincing physical beauty, revealed in moments of full-frontal nudity, among others, but with an eyebrow-lifting, eye-popping ability to sing terrifyingly high notes strung out in musical phrases that retained a melodic line.
Director Elkhanah Pulitzer took full advantage of McNairy’s talents, providing opportunities for the soprano’s balletic and acrobatic skills.
Cindy Warner, San Francisco Opera Examiner, 8/15/15
Only rising superstar soprano Emma McNairy could be this Lulu because of her stunning beauty and power, exactly what the femme fatale title role demands. The resulting masterpiece by West Edge Opera should define a new style of the art form and a new heroine.
Lisa Hirsch, The Iron Tongue of Midnight, Classical Music Blog, 7/25/15
The beautiful and charismatic Emma McNairy stars as Lulu herself, and sings and acts the hell out of an exceptionally long and difficult role. She sounds and looks great throughout, with the range, volume, and expressiveness a soprano needs for Lulu.
Paul Hertelendy, artssf.com, 8/13/15
The star of the night was coloratura Emma McNairy in the title role, willing to do anything to activate her role, even if it took appearing in the altogether more than once. Her stunning svelte figure was idea for the role, and her voice was appealing and electric, seemingly with no upper bound.
Charles Shere, The Eastside View, Blog
The opera centers of course on its title role, and I can’t imagine a better Lulu than Emma McNairy, who sings and acts with utter conviction and fabulous technique.
"Lulu on the Edge", by Mark Rudio, A Beast in a Jungle: San Francisco Performing Arts, Culture, Calendar & Reviews, 8/8/15
I bring up Petersen (and her age) because Emma McNairy, the key to West Edge Opera‘s stunningly successful production of Berg’s opera, is making her debut in the role at the age of 27. If Petersen’s Lulu is dangerous because of what she knows, McNairy’s Lulu is lethal because of what she possesses, or at least exudes on stage: a raw sexuality, not fully formed, untamed and still wild (sure, let’s talk about projected male desire). Only once, maybe twice, in twenty years of attending operas have I seen a singer so perfectly matched to a role. McNairy’s alluring soprano had no problem tackling the intricacies of Berg’s thorny score, or filling the cavernous Oakland Train Station where the production took place. If she can make the same impact in larger halls with full orchestra (West Edge used a reduced orchestra), the role could be hers for decades.
Displaying an acrobatic and physical agility rarely seen in opera singers, McNairy’s physical and vocal presence owns the stage long before she rises from an onstage bath and stands nude before the audience, toweling herself off in a meta display of Lulu’s power, and her own.
James Roy MacBean, Berkeley Daily Planet, 7/26/15
I have seen some great Lulus in my day – Anja Silja in San Francisco in 1971, the brilliant Teresa Stratas at the Met in 1981, and Ann Panagulias in San Francisco in 1989 – but I must credit local soprano Emma McNairy for her own striking interpretation of the role of Lulu in the current West Edge Opera production. As Jonathan Khuner says, Lulu is all about sex! Well, Emma McNairy as Lulu fairly exudes sex from every pore of her body, and she reveals all in several nude scenes. And, oh yes, Emma McNairy sings brilliantly in this terribly difficult, often strident vocal material. Berg wrote this opera in his twelve-tone style, and most of Lulu’s singing is quite dissonant, full of violent leaps and jagged edges.
As a closing remark, I must mention the outstanding staging of this opera by director Elkhanah Pulitzer and the brilliant conducting by Jonathan Khuner. Together with this excellent cast headed by the stunning Emma McNairy, they made Berg’s Lulu come vibrantly alive.
Mark Rudio, A Beast in a Jungle: San Francisco Performing Arts, Culture Calendar & Reviews, 7/26/15
Emma McNairy holds nothing back in a sexually charged, unforgettable turn in the title role, and under Elkhanah Pulitzer’s strong direction, this production look like a Max Beckmann painting come to life. Everything about it works.
Kinderkuchen for the FBI: Entertainment Weekly for Opera, 7/27/15
Emma McNairy is a brave and talented young woman.
Joshua Kosman, The San Francisco Chronicle, 12/23/15 - Top 10 Operatic Events of 2015
Even by the high standards of the West Edge Opera, this bold and inventive production of Berg’s Expressionist masterpiece, with soprano Emma McNairy’s dazzling star turn in the title role, was a triumph.
Internationaler Lions Gesangswettbewerb des Opernfestivals Gut Immling
Engelbert Kaiser, Traunsteiner Tagblatt, 26/2/15
Den 2. Preis erhielt Emma McNairy, eine Sopranistin aus den USA, die sich mit der Arie der Lulu »Wenn sich die Menschen...« aus »Lulu« von Alban Berg und mit »Glitter and be gay« aus »Candide« von Leonard Bernstein in enormer Ausstrahlung und Präsenz auf der Bühne präsentiert hatte.
2nd prize went to Emma McNairy, a soprano from the US, who sang the aria of Lulu "Wenn sich die Menschen..." from Lulu by Alban Berg and "Glitter and be gay" from Candide by Leonard Bernstein, in which she presented enormous charisma and presence on stage.
Florian Maier, Gut-Immling Pressekontakt
Eine starke Konkurrentin um den Sieg war die Amerikanerin Emma McNairy, die neben ihren musikalischen Fähigkeiten auch mit profilierten schauspielerischen Leistungen punktete und den 2. Preis gewann.
A strong competitor for the victory was the American Emma McNairy, who scored in addition to her musical skills, a profiled acting performance and won the second prize.
Engelbert Kaiser, Traunsteiner Tagblatt, 26/2/15
Den 2. Preis erhielt Emma McNairy, eine Sopranistin aus den USA, die sich mit der Arie der Lulu »Wenn sich die Menschen...« aus »Lulu« von Alban Berg und mit »Glitter and be gay« aus »Candide« von Leonard Bernstein in enormer Ausstrahlung und Präsenz auf der Bühne präsentiert hatte.
2nd prize went to Emma McNairy, a soprano from the US, who sang the aria of Lulu "Wenn sich die Menschen..." from Lulu by Alban Berg and "Glitter and be gay" from Candide by Leonard Bernstein, in which she presented enormous charisma and presence on stage.
Florian Maier, Gut-Immling Pressekontakt
Eine starke Konkurrentin um den Sieg war die Amerikanerin Emma McNairy, die neben ihren musikalischen Fähigkeiten auch mit profilierten schauspielerischen Leistungen punktete und den 2. Preis gewann.
A strong competitor for the victory was the American Emma McNairy, who scored in addition to her musical skills, a profiled acting performance and won the second prize.
Carmen, Music Academy of the West
Sasha Metcalf, Opera News, 8/1/14
Emma McNairy (Frasquita) and Laurel Semerdjian (Mercédès), cast as Carmen’s Gypsy companions, were particularly charismatic in the card scene; their voices also blended beautifully with those of Hunter, Christiaan Smith-Kotlarek (Le Dancaïre) and Mason Neipp (Le Remendado) in the smugglers’ quintet.
Sasha Metcalf, Opera News, 8/1/14
Emma McNairy (Frasquita) and Laurel Semerdjian (Mercédès), cast as Carmen’s Gypsy companions, were particularly charismatic in the card scene; their voices also blended beautifully with those of Hunter, Christiaan Smith-Kotlarek (Le Dancaïre) and Mason Neipp (Le Remendado) in the smugglers’ quintet.
La Cenerentola, Livermore Valley Opera
Sara Bobson, The Independent, 3/21/14
Emma McNairy and Anna Yelizarova, as the two wicked stepsisters, are witty actresses and compelling singers. McNairy, as Clorinda, has a beautiful, mellifluous soprano.
Sara Bobson, The Independent, 3/21/14
Emma McNairy and Anna Yelizarova, as the two wicked stepsisters, are witty actresses and compelling singers. McNairy, as Clorinda, has a beautiful, mellifluous soprano.
Elisabetta, regina d'Inghilterra, West Edge Opera, “Opera Medium-Rare (but well done!)" Concert Series
Jason Victor Serinus, San Francisco Classical Voice, 1/19/14
The word must have gotten out about soprano Emma McNairy. How else to explain the warm Sunday afternoon packed house at Berkeley’s Northbrae Community Church for West Edge Opera’s concert performance of Rossini’s early opera, Elizabeth, Queen of England...
Two years after she scored big as Zerbinetta in West Edge Opera’s fully staged production of Richard Strauss’ Ariadne auf Naxos — a production I was lamentably unable to attend — her voice seems to have grown considerably in beauty. The warmth and richness that were reportedly absent at age 23 have now come to the fore, with impressive weight in the middle, and highs perhaps even more thrilling. Note as well that her coloratura is impeccably voiced and fluid, and her intonation flawless.
The first time McNairy headed to the stratosphere, in an outburst of rage, the audience laughed, as much for sheer shock of hearing something so extraordinary amidst the ordinary singing that had preceded it as for the fact that, in this passage, Rossini at last moved beyond the merely melodically engaging to music that was emotionally and dramatically expressive. When, at the end of the first of the opera’s two acts, McNairy held what sounded like a high E-flat for a good six seconds, and rode over the entire ensemble, the audience went wild.
Meanwhile, a major thumbs up, not only to McNairy, but also to a laudably determined company...
Jason Victor Serinus, San Francisco Classical Voice, 1/19/14
The word must have gotten out about soprano Emma McNairy. How else to explain the warm Sunday afternoon packed house at Berkeley’s Northbrae Community Church for West Edge Opera’s concert performance of Rossini’s early opera, Elizabeth, Queen of England...
Two years after she scored big as Zerbinetta in West Edge Opera’s fully staged production of Richard Strauss’ Ariadne auf Naxos — a production I was lamentably unable to attend — her voice seems to have grown considerably in beauty. The warmth and richness that were reportedly absent at age 23 have now come to the fore, with impressive weight in the middle, and highs perhaps even more thrilling. Note as well that her coloratura is impeccably voiced and fluid, and her intonation flawless.
The first time McNairy headed to the stratosphere, in an outburst of rage, the audience laughed, as much for sheer shock of hearing something so extraordinary amidst the ordinary singing that had preceded it as for the fact that, in this passage, Rossini at last moved beyond the merely melodically engaging to music that was emotionally and dramatically expressive. When, at the end of the first of the opera’s two acts, McNairy held what sounded like a high E-flat for a good six seconds, and rode over the entire ensemble, the audience went wild.
Meanwhile, a major thumbs up, not only to McNairy, but also to a laudably determined company...
Vocal Chamber Music Concert, Music Academy of the West
Josef Woodard, Santa Barbara News-Press, 7/31/13
Even more off to the left of expectations, the lithely gifted and luminous-toned soprano Emma McNairy sang five pieces from Ralph Vaughan Williams’ ‘Ten Blake Songs’, solely accompanied by oboist Paul Lueders, lending a starkly refreshing air to the words and tones.
Josef Woodard, Santa Barbara News-Press, 7/31/13
Even more off to the left of expectations, the lithely gifted and luminous-toned soprano Emma McNairy sang five pieces from Ralph Vaughan Williams’ ‘Ten Blake Songs’, solely accompanied by oboist Paul Lueders, lending a starkly refreshing air to the words and tones.
L’incoronazione di Poppea, West Edge Opera
Jason Victor Serinus, Opera News, 2/3/13
Fast-rising young soprano Emma McNairy was a constant delight as Poppea, her lighter and beautifully free voice complementing her alluring physicality.
Georgia Rowe, San Francisco Classical Voice, 2/1/13
McNairy, who made her West Edge debut last season as Zerbinetta, returned as an alluring, sweet-toned Poppea; she and Brandes made their final duet, “Pur ti miro,” a sublime episode.
Joshua Kosman, San Francisco Chronicle, 2/4/13
Things were stronger on the vocal front, led by sopranos Christine Brandes as Nero and Emma McNairy as Poppea. The two love duets that framed the opera in this version, marked by melting harmonies and close-knit vocal interchanges, contributed to the evening's vein of erotic sensuality.
Adam Broner, Repeat Performances, 2/1/13
...co-star Emma McNairy, whose high clarity, supple runs and arresting beauty kept the action steamy.
...There were many gorgeous moments, and McNairy was in many of them...
Another was the well-known last duet, “Pur ti miro, pur ti godo,” probably written by Francesco Cavalli, in which McNairy and Brandes traded phrases in a stunning mirroring.
Lisa Hirsch, The Iron Tongue of Midnight, Classical Music Blog, 2/9/13
I loved soprano Christine Brandes's boldly-sung Nero and Emma McNairy's delicately evil and self-centered Poppea.
The Opera Tattler, 2/10/13
Emma McNairy was a cheery, girlish Poppea. Her sound is bright and sweet.
Jason Victor Serinus, Opera News, 2/3/13
Fast-rising young soprano Emma McNairy was a constant delight as Poppea, her lighter and beautifully free voice complementing her alluring physicality.
Georgia Rowe, San Francisco Classical Voice, 2/1/13
McNairy, who made her West Edge debut last season as Zerbinetta, returned as an alluring, sweet-toned Poppea; she and Brandes made their final duet, “Pur ti miro,” a sublime episode.
Joshua Kosman, San Francisco Chronicle, 2/4/13
Things were stronger on the vocal front, led by sopranos Christine Brandes as Nero and Emma McNairy as Poppea. The two love duets that framed the opera in this version, marked by melting harmonies and close-knit vocal interchanges, contributed to the evening's vein of erotic sensuality.
Adam Broner, Repeat Performances, 2/1/13
...co-star Emma McNairy, whose high clarity, supple runs and arresting beauty kept the action steamy.
...There were many gorgeous moments, and McNairy was in many of them...
Another was the well-known last duet, “Pur ti miro, pur ti godo,” probably written by Francesco Cavalli, in which McNairy and Brandes traded phrases in a stunning mirroring.
Lisa Hirsch, The Iron Tongue of Midnight, Classical Music Blog, 2/9/13
I loved soprano Christine Brandes's boldly-sung Nero and Emma McNairy's delicately evil and self-centered Poppea.
The Opera Tattler, 2/10/13
Emma McNairy was a cheery, girlish Poppea. Her sound is bright and sweet.
Ariadne auf Naxos, West Edge Opera
Joshua Kosman, San Francisco Chronicle, 11/7/11
Soprano Emma McNairy, a recent graduate of the San Francisco Conservatory of Music, offered a virtuosic display as Zerbinetta that hinted at greater things still to come.
Cheryl North, Contra Costa Times, 11/1/11
A particular standout was the acrobatic, sensuously flirtatious coloratura soprano, Emma McNairy. She could not only mug seductively at the video camera (part of the action onstage), projecting her face to the audience as she sang through a series of spectacular trills and roulades, she also hit some seemingly impossible high Ds above high C while draping herself upside down over an adjacent lap. She was a delight.
Adam Broner, Repeat Performances, 11/6/11
But Zerbinetta wins her grudging admiration with an aria on the cruelty of love, which the young Emma McNairy sang brilliantly while mugging for the camera. The production manager followed her with hand-held video, projecting extreme close-ups that filled the screen behind her. It was an inspired You-tube generation moment for a self-referential opera.
...and the coquettish Zerbinetta, a tour de force performance by Emma McNairy.
Michael Zweibach, San Francisco Classical Voice, 10/30/11
The high point in his direction comes, appropriately enough, in Zerbinetta’s great coloratura aria, “Grossmächtige Prinzessin” (High and mighty princess). The dancing master (sung by Michael Mendelsohn) comes on stage with a Steadicam and films Zerbinetta (Emma McNairy) MTV-style, while she does a number of slinky, pop-diva moves, such as crawling on the ground toward the camera.
She threw herself into her 11-minute aria, holding nothing back and carrying off some complicated stage business while singing it...So brava to her on those counts...
Joshua Kosman, San Francisco Chronicle, 11/7/11
Soprano Emma McNairy, a recent graduate of the San Francisco Conservatory of Music, offered a virtuosic display as Zerbinetta that hinted at greater things still to come.
Cheryl North, Contra Costa Times, 11/1/11
A particular standout was the acrobatic, sensuously flirtatious coloratura soprano, Emma McNairy. She could not only mug seductively at the video camera (part of the action onstage), projecting her face to the audience as she sang through a series of spectacular trills and roulades, she also hit some seemingly impossible high Ds above high C while draping herself upside down over an adjacent lap. She was a delight.
Adam Broner, Repeat Performances, 11/6/11
But Zerbinetta wins her grudging admiration with an aria on the cruelty of love, which the young Emma McNairy sang brilliantly while mugging for the camera. The production manager followed her with hand-held video, projecting extreme close-ups that filled the screen behind her. It was an inspired You-tube generation moment for a self-referential opera.
...and the coquettish Zerbinetta, a tour de force performance by Emma McNairy.
Michael Zweibach, San Francisco Classical Voice, 10/30/11
The high point in his direction comes, appropriately enough, in Zerbinetta’s great coloratura aria, “Grossmächtige Prinzessin” (High and mighty princess). The dancing master (sung by Michael Mendelsohn) comes on stage with a Steadicam and films Zerbinetta (Emma McNairy) MTV-style, while she does a number of slinky, pop-diva moves, such as crawling on the ground toward the camera.
She threw herself into her 11-minute aria, holding nothing back and carrying off some complicated stage business while singing it...So brava to her on those counts...
Senior Recital, San Francisco Conservatory of Music
Alex Feldheim, Not For Fun Only- Fun & Enlightenment in San Francisco, Blog, 4/28/11
I ended last weekend at soprano Emma McNairy's senior recital. A friend has become a fan of her performances at the SF Conservatory & urged me to go with him. She began with a set of Schubert songs which she sang at a measured pace & with a vibrant sound. She has a flirtatious stage presence & a clear desire to communicate. Her Nacht und Träume was especially controlled & still. Her voice is very high. In the Mozart concert aria Popoli di Tessaglia she calmly squeezed out pitches that went higher than the Queen of Night's arias. She also acted up a storm. I think she raised her right eyebrow at us at one point.
I enjoyed the varied & colorful Milhaud songs which gave her more chances to demonstrate her thought-out & unstrained coloratura. She gave dramatic emphasis to the Jake Heggie songs. I was surprised we could all stay silent after her big, open-armed ending for Not in a silver casket. I can imagine her being equally successful in opera or musical theater. Ms. McNairy dedicated her encore, the music hall song After the Ball, to her grandparents, who were in the audience. She sang it in a straightforward way, as if she were speaking to us.
Full Review Available: http://nffo.blogspot.com/2011/04/emmy-mcnairy.html
Alex Feldheim, Not For Fun Only- Fun & Enlightenment in San Francisco, Blog, 4/28/11
I ended last weekend at soprano Emma McNairy's senior recital. A friend has become a fan of her performances at the SF Conservatory & urged me to go with him. She began with a set of Schubert songs which she sang at a measured pace & with a vibrant sound. She has a flirtatious stage presence & a clear desire to communicate. Her Nacht und Träume was especially controlled & still. Her voice is very high. In the Mozart concert aria Popoli di Tessaglia she calmly squeezed out pitches that went higher than the Queen of Night's arias. She also acted up a storm. I think she raised her right eyebrow at us at one point.
I enjoyed the varied & colorful Milhaud songs which gave her more chances to demonstrate her thought-out & unstrained coloratura. She gave dramatic emphasis to the Jake Heggie songs. I was surprised we could all stay silent after her big, open-armed ending for Not in a silver casket. I can imagine her being equally successful in opera or musical theater. Ms. McNairy dedicated her encore, the music hall song After the Ball, to her grandparents, who were in the audience. She sang it in a straightforward way, as if she were speaking to us.
Full Review Available: http://nffo.blogspot.com/2011/04/emmy-mcnairy.html
The Medium, Cinnabar Opera
Sam Hurwitt, Marin Independent Journal, 11/11/10
Coloratura soprano Emma McNairy is radiant as her daughter Monica, who spends her days playing with the slow-witted mute foundling Toby (a skittish Lukas Thompson) when she's not posing as ghosts for the customers. McNairy's sprightly aria "Monica's Waltz" and gloomy lullaby "The Black Swan" are easily the musical highlights.
David Templeton, Bohemian, 11/10/10
Monica (beautifully played and sung by Emma McNairy) is the abused daughter of alcoholic con-woman Baba...
Yovanna Bieberich, The Petaluma Argus-Courier, 11/11/10
The role of Monica, Madame Flora’s daughter, is played by Emma McNairy who has an angelic and eerie voice in this production.
Sam Hurwitt, Marin Independent Journal, 11/11/10
Coloratura soprano Emma McNairy is radiant as her daughter Monica, who spends her days playing with the slow-witted mute foundling Toby (a skittish Lukas Thompson) when she's not posing as ghosts for the customers. McNairy's sprightly aria "Monica's Waltz" and gloomy lullaby "The Black Swan" are easily the musical highlights.
David Templeton, Bohemian, 11/10/10
Monica (beautifully played and sung by Emma McNairy) is the abused daughter of alcoholic con-woman Baba...
Yovanna Bieberich, The Petaluma Argus-Courier, 11/11/10
The role of Monica, Madame Flora’s daughter, is played by Emma McNairy who has an angelic and eerie voice in this production.
Orpheus in the Underworld, San Francisco Conservatory of Music
Janos Gereben, San Francisco Classical Voice, 4/2/09
In this version, there is nothing tragic about the Orpheus-Eurydice relationship. The lady here (Emma McNairy, in an evening-long star performance) can't stand his music, has a lengthy and defiant affair with Pluto, and goes to Hell willingly.
...after his transformation into a fly to court Eurydice, he and McNairy sing/dance/fly a duet that's for the ages.
Janos Gereben, San Francisco Classical Voice, 4/2/09
In this version, there is nothing tragic about the Orpheus-Eurydice relationship. The lady here (Emma McNairy, in an evening-long star performance) can't stand his music, has a lengthy and defiant affair with Pluto, and goes to Hell willingly.
...after his transformation into a fly to court Eurydice, he and McNairy sing/dance/fly a duet that's for the ages.