Reviews

 

The Seventh Annual Excellence in Opera (aka the Freddie) Awards 

by Fred Plotkin

Star-Making Performance, Female:

HOLLY FLACK sang the title role of Meyerbeer’s Dinorah at Amore Opera with astonishing fluidity and confidence. This work is seldom performed, in part because you must find the rare singer who can surmount the challenges of Dinorah’s music. Flack sang it as if it was her birthright. 

https://www.wqxr.org/story/seventh-annual-excellence-opera-aka-freddie-awards/

 

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Dinorah in "Dinorah (Le pardon de Ploërmel)"

with Amore Opera

 

"Keep your eye and ear on Holly Flack. She’s easy on the eyes, she can dance and act and say ridiculous lines with total conviction.

But the voice! An even, flexible, beautifully produced soprano, more womanly than the “canary” type, with excellent voice control, a genuine trill and a remarkable range, up to an A-flat in alt. Yes, you read that correctly: she knocked the house agog with an A-flat, not an ordinary D-flat, to conclude the Shadow Song."

https://parterre.com/2019/03/20/lite-meyerbeer 

 

 

"Standing out by virtue of her onstage charm and stratospherical extension was coloratura soprano Holly Flack. One could not have cast a better Dinorah than Ms. Flack whose instrument is gorgeous and judiciously employed to serve the character. Her performance of "Ombre légère", known as "The Shadow Song", took our breath away with such vocal fireworks that she made to appear easy."

http://www.vocedimeche.reviews/2019/03/music-10-story-2.html?m=1

 

 

"In the title role, soprano Holly Flack showed the most explosive talent... her middle was all flowing warmth and she showed off rippling coloratura and effortless trills. She gave a brilliant account of “Ombre légère,” a nimble, tuneful show-aria reminiscent of “Il dolce suono” in its little duet between soprano and flute, and capped it with a searing high A-flat that she actually held."

http://newyorkclassicalreview.com/2019/03/worthy-singing-from-young-cast-in-amore-operas-rough-and-unready-dinorah/

 

 

"On opening night, Holly Flack’s Dinorah unleashed a classic high-placed French light coloratura soprano with neat trills and accurate cadenzas in “Ombre légère,” capping the famous aria with a high A-flat above high C — shades of Mado Robin! Flack enacted the fey character with girlish charm."

 

https://www.gaycitynews.nyc/stories/2019/8/amore-opera-2019-04-11-gcn.html

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Soprano Soloist in Carmina Burana

with the Toledo Symphony

"Soprano Holly Flack delighted with a delicately crafted “In Virtute” ringing with passion. Her final “Dulcissime” flawlessly climbed to the extremes of her register and continued with effortless coloratura."

https://www.toledoblade.com/a-e/music-theater-dance/2020/02/15/review-carmina-burana-makes-for-epic-valentine-concert-by-toledo-symphony/stories/20200215098

 

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Ophélie in "Hamlet"

with Opera Ithaca

 

"... her coloratura soprano defines the character."

www.ithaca.com/entertainment, Fall 2018

 

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Queen of the Night in "The Magic Flute"

with Brott Opera

 

“American coloratura Holly Flack hit all the money notes in the Queen of the Night’s “The wrath of hell” aria, interpolating a note an octave higher than written in six instances.”

http://operacanada.ca/review-brottopera-magic-flute/

July 2018

 

Queen of the Night in "The Magic Flute"

with Fargo-Moorhead Opera

 

"Coloratura soprano Holly Flack rules as Queen of the Night and wields an impressive two-octave range, effortlessly reaching higher than high notes in her fluttering, iconic aria. Rarely does a murderous plot sounded so delightful."

http://www.inforum.com, October 2016

Queen of the Night in "The Magic Flute"

with American Chamber Opera

 

"... Holly Flack's brilliant coloratura added depth to the production."

 

www.chicagocritic.com, August 2013