Reviews

Opera Britannia

Theodora da Silva/Int. Händel Festspiele Göttingen

“Young American soloist Emily Fons was almost beyond praise in the title role. Her powerful mezzo allied with solid technique produced fireworks in almost every aria, with stunning virtuosic cadenzas. Pretty singing and affecting feeling in “Si, tornerò” contrasted with gripping force in “Sebben mi lusinga” with her voice moving up a gear in the da capo, an exceptional “Poiché pria di morire”, and ferocious low notes in “Voglio che sia l’indegno” contributing to a complete tour de force of singing and emoting. Clearly a singer to watch out for. ”

– Opera Britannia

The Opera Critic

Photo: Theodora da Silva/Int. Händel Festspiele Göttingen — Theodora da Silva/Int. Händel Festspiele Göttingen

“Emily Fons is excellent as Faramondo – clearly a young man staking out his own territory against Gustavo. In the aria ‘Voglio che sia l’indegno’, a raised eyebrow – as it were an inverse wink – makes the audience complicit in his sentiments. Her voice has a young man’s lightness, while still conveying the intensity of his mixture of emotions. At times boyish, at others suggesting the future of his maturity, Fons’ performance explores fully the complexity of the character.”

– Catriona Graham, The Opera Critic

Financial Times

“The gifted young mezzo-soprano Emily Fons extracts all its poignancy and demonstrates ample vocal muscle in Faramondo’s more heroic utterances.”

– George Loomis, Financial Times

NewOutpost.com

“Further reinforcement came from the ideal Siebel of mezzo-soprano Emily Fons, whose smooth lyric voice poured forth with well-oiled facility during her big number “Faites-lui mes aveux”. Her declamation was consistently well produced and alert. She also brought an ideal blend of proclivities to her assignment: tall, trim, and projective of a natural boyish charm across the footlights.”

– Daniel Vasquez, NewOutpost.com

Chicago Classical Review

Orlofsky in Die Fledermaus with the Lyric Opera of Chicago (Photo: Dan Rest)

“As Prince Orlovsky, former Ryan Center member Emily Fons added another trousers role to her growing repertorial wardrobe. Unsmiling and convincingly androgynous, the mezzo sang with warm tone and etched a superb characterization of the wealthy and eternally bored young Russian royal.”

– Chicago Classical Review

Seen and Heard International

“Emily Fons made the character of Count Orlofsky a pivotal part of the evening, with her rich mezzo fitting the role well. The sincere tone she set with the number “Brüderlein und Schwesterlein” carried through to the other soloists and the chorus.”

– Seen and Heard International

The Santa Fe Reporter

“Emily Fons as Cherubino deserves special mention. She’s had illustrious predecessors here in the role, Helen Vanni, Frederica von Stade and Isabel Leonard among them. But fret not. Fons is up there with the best in terms of flexibility, phrasing, vivacity. “Voi che sapete” nearly steals the Countess’ heart, and it easily steals ours in SFO’s verdant, amiable take on Mozart’s sophisticated school for lovers.”

– John Stege, The Santa Fe Reporter

The New York Times

“The pleasures of “Le Nozze di Figaro” were different, achieved through the work of a unified and multitalented ensemble…Emily Fons proved unusually persuasive as a male in the trouser role of Cherubino…”

– James R. Oestreich, The New York Times