"Soprano Marcy Richardson (Dalinda) gave the best all-around
performance. I mean no disrespect to her talents and charm when I say
she made a perfect seconda donna here — just what the role needs, and in good sound and style." (Princeton Festival, David Shengold, Opera News 2010)
“A delicious lyric coloratura” (as Dalinda, Handel’s Ariodante-Princeton Festival, Michael Redmund, central Jersey.com 2010)
“What makes a great Handel singer? In the space of a seconds-long vocal cadenza, Marcy Richardson (Dalinda) articulated clean scales decorated by trills and appoggiaturas - all integrated into her character's personality.” ( Ariodante, David Patrick Stearns, the Philadelphia Inquirer Princeton Festival 2010)
“Soprano Marcy Richardson brought energy and control over the character to the soubrette role as Dalinda, Ginevra’s handmaiden, building on the delicious sauciness of the character as the opera went on.” (Ariodante-Nancy Plum, Town Topics, Princeton Festival 2010)
“Marcy Richardson also delivered an enchanting performance as the handmaiden Dalinda.” (Ariodante, Toby Grace, Out in New Jersey Princeton Festival 2010)
“The sprightly Dalinda, Marcy Richardson also sang with admirable fluency.” (Ariodante, James Camner, Opera-L Princeton Festival 2010)
"Marcy Richardson sang the roles of Diana and Jove-masquerading-as-Diana with distinctive characterizations and equal panache...an extraordinarily vivid, vocally impressive performance. In her dual role, Richardson was on stage for a great deal of the opera, with significant vocal and dramatic demands made upon her. She rose to the occasion with style. Diana's rage and tenderness were alike convincing, and the king of the gods was jovially caddish." (La Calisto, OperaObsession, Vertical Player Repertory 2011)
"The company's star is tiny, curly maned Marcy Richardson in the plum roles of Diana and faux-Diana. Her small but luscious soprano acquired sensuous overtones for her duet with the persistent Endymion, then abruptly hissed at Calisto's advances. She had fun slapping Mercury's back as Jove-in-disguise, and seduced both sexes with convincing ardor. Tony Curtis? This is how it's done! (La Calisto, John Yohalem, Parterre Box, Vertical Player Repertory 2011)
Marcy Richardson may have been Wonder Woman-i.e. Diana, leader of the chaste Amazons. But she also played-as brilliant tomboy-Jupiter transformed into Diana herself to seduce Calisto. As in Rosenkavalier, we had a mixture of sexualities, but always real people. Ms. Richardson could be awkward or warm, sensual, or the absolute fishwife! A a brilliant performance." (La Calisto, Harry Rolnick, ConertoNet, Vertical Player Repertory 2011)
"Some really fine voices here. I would pick out...Marcy Richardson (Diana), a bright and focused soprano with great capacity to characterize." (La Calisto, Beckmesserschmitt, Opera-L, Vertical Player Repertory 2011)
"...wealth of young talent in this production. Most notable: the pert soprano Marcy Richardson, doubling in the role of Diana and as the god Jupiter, who disguises himself as Diana in an effort to bed the nymph Calisto." (La Calisto, Paul Pelkonen, Superconductor, Vertical Player Repertory 2011)
“Marcy Richardson sang brightly and offered vibrant acting as Papagena (Baltimore Sun, The Magic Flute, Opera Vivente 2010)
“Another impressive new voice was soprano Marcy Richardson, currently with Orlando Opera, who tossed off the coloratura runs of "Rejoice greatly" easily and with dead-on accuracy of pitch. She also sang an elegant "I know that my Redeemer liveth."(Messiah, Orlando Philharmonic-Orlando Sentinel, 2007)
“Marcy Richardson took on the challenging role of the doll, making this act the most successful of the opera.” –Resmusica.com, as Olympia in Les Contes d'Hoffmann with Lyrique-en-Mer in Belle-Ile, France 2007 (“Marcy Richardson a tenu, à ses côtés, le jeu difficile de l’automate pour faire de cet acte le plus réussi de l’opéra.” 2007)
“Marcy Richardson took good care of her vocal responsibilities and entered into the slapstick theatrics with gusto.”(as Mme. Silberklang, Der Schauspieldirektor, Herald Times 2004)
“Marcy Richardson as Emmeline offered all the needed passion, along with fluency of tone; her soprano matched requirements well.” (as Emmaline, King Arthur, Bloomington Early Music Festival, Peter Jacobi, Herald-Times 2002)
"Richardson's high notes were perfectly in tune" (Sven-David Sandströn's High Mass, VocalEssence, Gwendolyn Freed-Star Tribune, 2003)
"Marcy Richardson was particularly wonderful in her solo" (Sven-David Sandström's High Mass, VocalEssence, Curtis Gilbert-St. Paul Pioneer Press, 2003)
“Richardson has the energy necessary for the artificiality of the stage, but also brings a personal element to her role, as if one immediately knows her as a friend.” (Freeport Ink, as Leonide in Triumph of Love with Timber Lake Playhouse 2000)
"Richardson moves well and profiles a strong stage presence. It’s difficult to not look at her." (Freeport Ink, Triumph of Love, Timber Lake Playhouse 2000)
Performance Photos by Cory Weaver http://www.CoryWeaver.com (OperaNow, Kurt Weill Uncovered w/OperaMission, La Calisto-Vertical Player Repertory, Arianna-Musica Nuova, The Magic Flute-Opera Vivente, Weill Wednesdays)
