Reviews

 Soprano, BEL CANTO / CAN BELTO

New York Festival of Song, 2015

with Steven Blier and Christopher Reynolds, pianists

Merkin Hall, Kauffman Center in NYC

 

From OPERA NEWS:

Soprano Chelsea Morris lent her flawless legato and tear-tinged voiceto Bellini’s “La

ricordanza.”

 

Pianist Christopher Reynolds and Morris [...] partnered again in an exquisite performance of

Refice’s “Ombra di nube,” which Morris sang with desperation, imbuing her beautiful, lyric

instrument with a magnetic edge.

 

John Musto’s blues-inspired “Penelope’s Song” was perfectly realized in Morris’s nonchalant

and mysterious performance.

Steven Jude Tietjen, 

http://www.operanews.com/Opera_News_Magazine/2015/6/Reviews/NEW_YORK_CITY__Bel_Canto/Can_Belto.html

 

From [Q]on Stage:

Chelsea Morris, assisted by Blier, disclosed a pure soprano leggero—with surprises to come later—in a moving “La ricordanza,” dulcet and elegiac, by Vincenzo Bellini and Count Carlo Pepoli, an early incarnation of “Qui la voce,” from the same pair’s “I Puritani.” […]

 

In Lucinio Refice’s rhapsodic and ethereal “Ombra di nube,” to Emidio Mucci’s poem, Morris, with Reynolds, unveiled                     a radiant spinto timbrethat could point toward to the likes of Giacomo Puccini’s Suor Angelica and Madama Butterfly, more         than to Bellini and Donizetti, in her future.

 

Blier termed John Musto and Denise Lanctot’s “Penelope’s Song,” finale of the song cycle “Penelope,” “an anti-torch song,”             which Musto characterized as Country-Western, while Blier called it Blues, all of which could be heard in Morris’ assured,             anything but wistful statement, with Blier.

 

[Mezzo-soprano Julia] Dawson, as Susanna, and Morris, as Rosina, assisted by Blier and Reynolds, joined voices for an                     exquisite Mozartian “As summer brings a wistful breeze,” from Corigliano and William M. Hoffman’s opera “The Ghosts of           Versailles.”

Bruce-Michael Gelbert, http://www.qonstage.com/2015/03/nyf/

 

 

Clori, GLI EQUIVOCI NEL SEMBIANTE by A. Scarlatti

HAYMARKET OPERA COMPANY, 2014

Superbly cast as Clori and Eurillo, soprano Chelsea Morris and tenor Karim Sulayman shine in their respective roles. Both have beautifully rounded and melodious voices that capture the delicacy and emotion of Scarlatti’s lyrical and intricate scoring. As her voice soars heavenward with such exquisite singing, it is easy to see why Contini describes her character as a ‘nymph.’ When Morris and Sulayman sing the occasional duet, of which there are sadly too few, their voices complement each other with breathtaking harmony.

Barnaby Hughes, StageandCinema.com

 

Soprano Soloist, MASS IN B MINOR by J.S. Bach

MADISON BACH MUSICIANS, 2014

 "There are four soloists of talent […] the two ladies proved superb. Soprano Chelsea Morris once again demonstrates her rich and vibrant artistry, while mezzo-soprano Sarah Leuwerke matches Morris in beauty of sound, especially when the two are paired." 

 

John W. Barker, Madison Isthmus

 

Diane, ACTÉON by Mark-Antoine Charpentier

HAYMARKET OPERA COMPANY, 2014

 "Soprano Chelsea Morris brought a luscious soprano voice to the outraged Diana"

John von Rhein, Chicago Tribune

 

"Local soprano Chelsea Morris was a stately, vengeful 'Diane'..."

Andrew Patner, Chicago Sun-Times

 

Lisa, THE LAND OF SMILES by Franz Lehàr

CHICAGO FOLKS OPERETTA, 2013

 “As Lisa, Chelsea Morris displayed a big gleaming soprano, throwing off top notes with impressive power and precision. [...] she brought fire and impassioned conviction to her confrontation scene with the prince.”

Lawrence A. Johnson, Chicago Classical Review

 

 “Geoffrey Agpalo and Chelsea Morris sing their hearts out and they create a romantic spark that is contagious. Miss Morris’ golden soprano is richly evocative...”

Tom Williams, Chicago Critic

 

 “Chelsea Morris and Geoffrey Agpalo sound glorious as the star-crossed lovers...”

Albert Williams, Chicago Reader

 

“...Chelsea Morris, a thrilling soprano...”

Lawrence Bommer , Chicago Theater Beat

 

“Lisa is brought to life by soprano Chelsea Morris. Her singing is both pretty and pure and she has the ability to command the stage with grace and poise.”

M.L. Rantala, Hyde Park Herald

 

 

Finalist, HANDEL ARIA COMPETITION, 2013

 “Perhaps the biggest surprise of the night for The Ear came from the omission of soprano Chelsea Morris from the prize–winners. Morris had alovely clear but strong voice that could hold a note for long without wobbling; she performed agile and articulate ornamentation; and she connected with listeners using her eyes, face and hands. I sat among some very sophisticated opera fans and musicians, and I heard most of them say they were stunned that Morris did not walk away with a prize, preferably first prize.”

Jacob Stockinger, The Well-Tempered Ear

 

Pamina, DIE ZAUBERFLÖTE by W.A. Mozart

CANDID CONCERT OPERA, 2013

 "The star of the show in general, however, was Chelsea Morris as Pamina: her firm, truly beautiful voice, with absolute technical confidence, offered consistently lovely singing."

 

John W. Barker, The Well-Tempered Ear

Susanna, LE NOZZE DI FIGARO by W.A. Mozart

CANDID CONCERT OPERA, 2012

 “Chelsea Morris’ [...] lovely and sweet voice fitted the character of Susanna admirably.”

John W. Barker, The Well-Tempered Ear

 

 

Emily, OUR TOWN by Ned Rorem

RICE UNIVERSITY, 2011

 “Chelsea Morris was a perfect Emily: an old-fashioned wide-eyed innocent sung with a clear flowing voice.”

-Opera Out Loud

 

Poppea, L’INCORONAZIONE DI POPPEA by Monteverdi

RICE UNIVERSITY, 2010

 “Standout performers were: [...] Chelsea Morris as Poppea (five costume changes – wow!!) who connived in such a beautiful way with her crystal clear, lyric soprano voice.”

-Opera Out Loud