Reviews

 

Il Trittico – Baltimore Concert Opera

“Also bringing sturdy vocalism and a lot of character to the performance was … Madeleine Gray (La Zelatrice)….. (and she) brought vocal authority and verve to the role of Frugola (Baltimore Sun)

La Sonnambula – Washington Concert Opera

“While the role of Teresa is a small one, Madeleine Gray brought to it a fine dignity that allowed her character to believably take some difficult situations in hand and bring her confused daughter, fiancé, and others to a satisfying denouement.”

Le Nozze di Figaro – Annapolis Opera

“Madeleine Gray revealed a compelling mezzo voice and great stage presence along with strong comedic skills as Marcellina.” (Baltimore Sun)

Cavalleria Rusticana - Washington National Opera

“…although this was a concert opera, all of the artists sang from memory and acted every moment of the score just as if it were a staged performance. The sense of drama and tragedy was maintained from beginning to end….. Madeleine Gray['s] voice is dark-hued, plummy and rich. She used her hands in such an expressive and Italianate way to convey the text, and was most sympathetic in her scenes with Santuzza and Turiddu.” (concertnet.com)

“… Madeleine Gray did vivid work as Turiddu’s distraught mother, Mamma Lucia.” (Baltimore Sun)

“Madeleine Gray was a warm Mamma Lucia” (Washington Post)

“…[mezzo] Madeleine Gray …. ably rounded out a fine cast.” (Washington Times)

The Chocolate Soldier – The Bard Festival

“High praise also for mezzo Madeleine Gray as mother Aurelia…”  (Metroland)

“Madeleine Gray (Aurelia, Nadina’s mother) has the goods to clean up in Gilbert and Sullivan mezzo roles.” (Opera News)

Elisabeth – Caramoor Festival

“… the production offered musical rewards and the cast was consistently impressive… winning [was] mezzo-soprano Madeleine Gray as Marie….” (New York Times)

Il Barbiere di Siviglia – Baltimore Opera

“Madeleine Gray as Bertha far exceeded the demands of the role. For me, she was the surprise of the evening. She has a big, well-focused voice, and was comic as well. I look forward to seeing more of her.” (Der Neue Merker)

“Proving there are no small roles, only small voices, ample-toned Madeleine Gray had a field day as the servant Bertha, even stealing the limelight – and some of the music – from Rosina in the Act 1 finale” (Opera News)

The Medium – Showcase Opera, Buxton Festival

“Madeleine Gray is the linchpin as Madame Flora… She gave a performance of enormous vocal strength, as well as portraying the crumbling of mind and personality powerfully.” (Manchester Evening News)

“Particularly successful… was the Madame Flora of Madeleine Gray, imperious, imposing and with features whose expressiveness positively demanded our involvement” (Birmingham Post)

The Medium – Opera Vivente

“As Madame Flora… Madeleine Gray made a dynamic presence. Her mental unraveling was conveyed with terrific intensity; her voice had considerable weight and expressive coloring.” (Baltimore Sun)

Le Nozze di Figaro – Westfield Symphony

“The soloists ranged from very good to superlative, with lesser roles filled by singers of unexpectedly high vocal quality [including] mezzo-soprano Madeleine Gray as the frumpy Marcellina…” (NJ Star Ledger)

Mikado – Salt Marsh Opera

“…..the seasoned singing [of Madeleine Gray ] proved a delight. …. Gray, as Katisha, has perhaps the best voice in the cast, and she uses it to great effect in her scary grand entrance. Her acting matches her vocal strength, and she makes the transformation from witch to wench quite admirably.” (New London Day)

Mikado – Annapolis Opera

“Fine voices and hilariously drawn characters abounded [with] sonorous voices of both genders everywhere…..The scene-stealer on the feminine side was Madeleine Gray as Katisha…..” (Baltimore Sun)

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