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and
individual vocal color and
personality."
(Santa Clara Weekly)
"...this album [Surviving: Women's Words] offers four passionate meditations on the Holocaust experience delivered through a unique and highly compelling pair of voices, those of both composer and singer." (Examiner.com)
...McGuinness brings admirable diction to her execution...
(Examiner.com)
"Soprano Nanette McGuinness (accompanied by Dale Tsang on piano and Laura Gaynon on cello) deftly negotiationed Garner's convolutions..." (Examiner.com)
"Nanette
McGuinness stood out, both for the clarity of her
words
and
for her
stamina in the long and difficult part of Nino, Semiramis'
son."
(The
Daily
Californian)
"Soprano
Nanette
McGuinness
ornamented gloriously in the style of the period [in the Lord Nelson
Mass]... (Daily Republic)
"Act III [in Pilgrim's Progress] further confirmed that wanton
is
simply more fun...
Virtually
all the supporting characters get their
opportunity to schtik and shine
(well,
given the context, maybe simmer is better),
including...the
knockouts Madam Wanton and
Madam
Bubble (Nicole Takesono and NanetteMcGuinness)..."
(San
Francisco Classical Voice)
"The
wood nymph
trios
[in Rusalka], sung by Nanette McGuinness, Sara Lamar MacBride, and Dana
Anderson-Williams, were animated and beautifully blended, as fine as
one would hear
from
the most affluent companies. Their playful
trios, as they tease their father...
were
like mystical Bohemian
versions of the the Rhine maiden trios
fromWagner's
Ring Cycle operas."
(Oakland
Tribune)
"Nanette
McGuinness...[was] a radiant Pamina."
(Hokubei
Mainichi)
"Of
a good level, in
completing the rest of the cast: the pleasing
"Musetta" of Nanette McGuinness
...applause
for all."
(La Stampa
(Italy), trans. McGuinness)
"The
role of Despina
was sung by Nanette McGuinness...She was
excellent;
her
voice is full and with good enunciation."
(Valley
Times)
"With
individual
singers afforded star-turn solos and then combined in various array,
the
result was often remarkable in some cases,
less
so in others. Exemplary of the former[was]....soprano
Nanette
McGuinness'vibrant 'La Canzone di Doretta'
from Puccini's 'La
Rondine'."
(San Luis
Obispo County
Telegram-Tribune)
"The singing
by
McGuinness as the daughter...[in Gianni Schicchi]
exuded credulity."
(Five Cities
Times-Press Recorder)
"This
[Gianni
Schicchi] is truly an ensemble piece, and every one of
the scheming mourners deserves mention...Nanette McGuinness...: take a
bow
(San
Mateo Times)
"Pretty
Nanette
McGuinness' attractive soprano [in Puccini's Le Villi]..."
(Five
Cities Times-Press
Recorder)
"Also excellent are Lisa
Edelman,
Nanette McGuinness [as Cis],
and Edmund Kimbell
as the mischievous
children [in Albert Herrring]."
(Contra Costa Times)
"Ms.
McGuinness'
performance [as Musetta] came well up to my
expectations:
she was secure,
reliable
and precise, and interpreted her part in a
very
convincing way."
(Alfredo
Corno, Stage
Director for La Boheme,
Santa
Margherita Ligure, Italy)
foto von Russ Fischell |