Dorabella in Cosi Fan Tutte with Opera Omaha

The equal of Majeski’s Fiordiligi was Emily Fons’s Dorabella. Fons’s rich voice, elegant line, and playful manner left one longing for more. The duets between the sisters were transcendent: Majeski and Fons sang with such consonance of breath, dynamic, phrasing, and emotion it was as if they were one voice singing in perfect harmony with…

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La Cenerentola, Opéra de Lille

… la jeune Emily Fons est, dans le rôle-titre, une heureuse révélation, alliant un timbre riche et corsé à une projection aussi insolente que son agilité. Un soupçon de larme sur la voix, un rien de sobriété dans l’art de l’ornementation, et elle sera sans aucun doute une très grande Angelina. … the young Emily…

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Le Nozze di Figaro, Canadian Opera Company

The tone is set early on with Fons’ achingly beautiful and poignant rendering of Cherubino’s “Non so piu cosa son.” – Michael Crabb, Toronto Star Emily Fons is an androgynous delight as Cherubino, with a honeyed yet light voice and great physical daring. – Lydia Perovic, The Globe and Mail

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Don Giovani, The San Diego Opera

Mozart gave all the memorable tunes to Zerlina, and Fons’ fresh, shimmering mezzo made the most of Moazart’s bounty, especially her aria used to comfort Masetto “Vedrai, Carino.” – Ken Herman, San Diego Story Fons…seems to be at the onset of a most impressive career. Her singing was an iridescent wave of vocal color as she…

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Cold Mountain, The Santa Fe Opera

Emily Fons, also a mezzo soprano, brought rich tone to the role of Ruby, conveying rough-hewn lustiness. – James Keller, The Santa Fe New Mexican Emily Fons, singing with ringing, resonant tone, is delightful as the take-charge, mountain girl, Ruby, who comes to help Ada run her farm. – Mary Helen Klare, The Albuquerque Journal Mezzo Emily…

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Theater Jones

“Mezzo soprano Emily Fons has a dynamite voice: dark and rich yet flexible, and that dark sound is gloriously natural, not manufactured as we sometimes hear. She is universally praised for her androgynous portrayal of young men in many pants roles, such as Nicklausse in Offenbach’s Tales of Hoffmann.” – Theater Jones

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Opera News

“Her interpretation of Marguerite’s lovesick suitor Siébel was anything but reserved — rather raw and exceedingly physical. Fons’ rendition of “Faites-lui mes aveux” revealed a voice that ascended the scale easily, both agile and expressive.” – Opera News

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