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s o p r a n o
"The popular singer performed the finale of Mahler's 4th depicting heaven with
eloquent simplicity, her own warm voice rising as though in the company of angels",
"Soprano soloist Huisman deserves credit for piercing vocals that were always
audible, even though she only got to sing twice-in the opening movement ‘A Song for All
Seas, All Ships, and the ender The Explorers’. Huisman left you thirsting for more."
"Winnipeg Born Huisman's voice that grew, in turn, out of the choir's texture became
another highlight. Her molten soprano soared over the combined 100-plus musicians and 120
singers with ease, eventually joined by Krause as they sung like angels extolling the power of faith"
"A particular highlight in the Brahm's Requiem was Soprano Huisman's
" ....Huisman gave a passionate performance in Beethoven's Mass in C"
"Winnipeg soprano Monica Huisman was appropriately demure as peasant girl Micaëla, who, in sharp contrast to Carmen, stood almost stock-still while delivering her arias. Huisman has proven herself to be a totally reliable performer, pristinely accurate and consistently crafting each note into a work of art.
"Monica Huisman's Musetta, however, brought a welcome splash of vitality and color in an otherwise lacklustre and routine staging."
"You want what little call there is for cultivated singing in Pinafore to be enjoyable, and Huisman certainly met that test."
"Ainsworth as the upright Rackstraw and Huisman as the upper-class captain's daughter are nicely matched, Huisman delivering particularly startling musical moments in her role as the object of two men's affections. "
"Celeste, his love interest, is but a young girl, played by Huisman, whose own star is rapidly rising for good reason. She brings a memorable stage presence and confident demeanour to her depiction of the convent-raised young woman who is the object of Le Gentil's love. There is just a hint of the spoiled child. Add to this Huisman's pinpoint-pure voice and you hear all the urgency and impatience of youth,
tinged with the desperation of love."
"In supremely mellifluous voice, soprano Monica Huisman (Donna Anna) was ideally cast."
"Monica Huisman as Donna Anna captured and held the audience’s attention with beautiful acting and an equally fetching voice. Huisman’s high soprano, which sits just below high C, it seems forever, is a wonder to behold as it rides along the crest of the ensemble."
“Huisman showed herself to be a true professional. Here was a voice that carried – powerful without shrillness. With a full, well – developed tone, she truly played her part, showing a mature flair for the dramatic…”
“Monica Huisman (Musetta) was radiant, looking and behaving for all her charms like a 19th century Paris Hilton, spoiled and seeking attention….”
“Monica Huisman as Musetta, maintained a sense that “less is more.” Her version of Musetta’s Waltz positively sizzled with sensuality but there was always a sense of disciplined restraint. Her final top notes tapered to a whisper, embodying both flawless technique and dramatic impact….”
“The star was Monica Huisman’s Micaela. From the moment she sang with Duffin, the delicious vocal blend told you they should live happily ever after, although the tragedy of this opera is, of course, that they don’t. With only two opportunities to ravish her audience, Huisman triumphed both times…”
“Monica Huisman made a winsome Micaela, tugging on Jose’s heart-strings.
“Canadian Soprano Monica Huisman as Micaela is blessed with a lovely lyric voice that has
“the exploration of bereavement of Strauss’ Four Last Songs’ was a deeply affecting journey with the
“Soprano Monica Huisman’s voluptuous Fox was irresistible….”
“partnered by Monica Huisman as the Fox, whose silken voice and fine stage sense belong in the
“Soprano Monica Huisman’s performance was worth the price of admission alone. If you haven’t heard this fine Winnipeg singer yet, pencil her in, the next chance you get. Exuding dramatic flair with a resonant voice as rich as melted chocolate, she was a pleasure to hear…”
“Though uniformly well sung by all, the night really belonged to Monica Huisman, whose Fiordiligi made you suspect that this large and demanding role has provided the high point in her career to date. Huisman was altogether lovely, resounding where she had to be yet vulnerable and touching as needed. It’s clearly onwards and upwards
“If anyone stood out, it was Huisman’s Musetta, cutting a wide swathe through the hapless
“an evening of fine singing, especially the ever-blooming soprano of Huisman, who is a treat to hear
“listen to young Canadian sensation Monica Huisman in the role of Musetta…”
“Monica Huisman’s Musetta is endowed with an enormous voice, used with all its pouting,
“Monica Huisman’s Musetta is emotionally nuanced and beautifully sung, carefully avoiding the screechiness that Musetta’s coloratura acrobatics so often rise to...”
“soprano Monica Huisman invested in the role of Frasquita with Fiery Hispanic temperament
“…Monica Huisman’s full soprano was a pleasure in the role of Frasquita.”
“Monica Huisman made a compelling Pamina, beautiful to watch and, with her dark, rich tone, a more interesting Princess to hear than many, more famous sopranos.”
“Huisman’s expressive soprano let the way through the Four Last Songs…..such sad beauty was contained in Huisman’s interpretation that the audience had her back twice after its initial response.”
“fantastic young soprano Monica Huisman, as one of the high ladies, provided an incredible sound, foreshadowing the tragedy to follow for Francesca da Rimini…”
“and Winnipeg soprano Monica Huisman, who brought a marvelous voice plus great charm and beauty to the much-put-upon Countess Almaviva...”
"Huisman sang with full throttle vocalism and ample emotion transforming what some might dismiss as a bel-canto bauble into a vivid scene.”
“as Musetta, Huisman commanded the stage as well as the the attention of more than just Marcello…. vocally sang with ease and grace….”
“particularly memorable was Canadian soprano Monica Huisman in the diminutive role of Barbarina. Her flexible and expressive voice, ripe with potential, makes her a singer to watch.”
“or listen to Monica Huisman, who pops up as Barbarina and sings her little jewel of an arietta so prettily, so plaintively, and – something that electronics just can’t make happen – so credibly.”
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