"A voice to savor...with a warm soprano tone that had a
golden ring in it...Her clear enunciation, flexibility and creamy
golden tone shaped the words and conveyed the meaning...
McGuinness used gesture and timbre to present the
Kontakt emotional truth of each song...the well-known "Jota" was

delivered as well as I have ever heard it sung."
English (Independent Coast Observer)

...Carmen had some lovely moments with the opera’s leading characters–... Nanette McGuinness as Micaëla (a magnetic stage presence and glorious soprano)..."
(Ink Notes)

"The infamous Three Ladies [in The Magic Flute], played

 by Nanette McGuinness, Nicole Takesono, and Liya Fang

were especially sonorous in the first act, each displaying a noteworthy

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." (

...McGuinness brings admirable diction to her execution...


"Soprano Nanette McGuinness (accompanied by Dale Tsang on piano and Laura Gaynon on cello) deftly negotiationed Garner's convolutions..." (

"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

photo by Russ Fischella

Copyrecht © 2009