Reviews
Elisa in “Il Re Pastore”
with OrpheusPDX
https://www.orartswatch.org/the-choice-between-duty-and-love-mozarts-forgotten-shepherd/
Madeline in “The Fall of the House of Usher”
with OrpheusPDX
“Played slyly by Portland native and rising star Holly Flack as a noirish femme fatale, Madeline’s evocative vocalise provides a haunting presence. Plus she gets to unleash one of her famous high notes.”
https://www.orartswatch.org/glass-house-philips-fall-in-lincoln-hall/
“Soprano Holly Flack... was a dead ringer for a Hitchcock blonde with her hair twisted high around her head. She wandered the stage in a vivid red dress and makeup to match, singing notes without words in a kind of dreamy vocalise. Like Glass’s music as a whole, Flack’s vocal line was often a repetitive hum, and it was beautiful if uncanny–and not easy to do, though Flack was a violinist, which helped her remember notes without words. At one point, when she screamed, she reached a high A above a high C (she can go to high B above the A). Glass wrote the note lower, but Flack–who can reach extreme heights with her voice–sang the A an octave higher after consulting with conductor Michelle Rofrano, who obviously approved. Flack’s exacting high vocal range inspired yet another moment of chills and goosebumps.”
https://www.orartswatch.org/beautiful-and-uncanny-the-fall-of-the-house-of-usher/
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/
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.”
“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
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.”
Ophélie in “Hamlet”
with Opera Ithaca
“... her coloratura soprano defines the character.”
Soprano Soloist in Handel's Messiah
with New Amsterdam Opera
“Soprano Holly Flack is someone to look out for. Radiant, perfect inner stillness, strong technique, a voice that will last. Gorgeous smile, her coloratura effortlessly floating on air. A mix of humility and grace, with some spice and spite.”
https://isengart.com/blog/messiah-riverside
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/
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.”
Queen of the Night in “The Magic Flute”
with American Chamber Opera
“... Holly Flack's brilliant coloratura added depth to the production.”