“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

“Mezzo-soprano Emily Fons was most impressive in the trouser role of Siébel, with the kind of light, fleet voice perfect for this role.” – James Paulk, ArtsATL.com

“All the score’s key virtues – color, humor, character – were as evident as can be, and one couldn’t have asked for a fuller, sultrier mezzo-soprano than Emily Fons.” – Zachary Lewis

“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…

“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

“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…

“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

“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