s o p r a n o
 

REVIEWS

 

"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",
Winnipeg Free Press 2014

"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."
Star Phoenix 2014

"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"
(Mahler's 2nd Symphony)
Winnipeg Free Press 2012

"A particular highlight in the Brahm's Requiem was Soprano Huisman's stunning vibrato."
Star Phoenix 2012

" ....Huisman gave a passionate performance in Beethoven's Mass in C"
Winnipeg Free Press, 2010

"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.
In Je dis que rien, she was a woman on a mission, determined to confront Carmen.
We tingled at her innocence-tinged bravery."
Carmen - Winnipeg Free Press 2010

"Monica Huisman's Musetta, however, brought a welcome splash of vitality and color in an otherwise lacklustre and routine staging."
La Bohème - Opera Canada 2008

"You want what little call there is for cultivated singing in Pinafore to be enjoyable, and Huisman certainly met that test."
HMS Pinafore - Opera Canada 2008

"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. " 
HMS Pinafore
Edmonton Journal - 2008

"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."
Transit of Venus
Winnipeg Free Press, 2007

"In supremely mellifluous voice, soprano Monica Huisman (Donna Anna) was ideally cast."
Don Giovanni
Opera Canada 2008

"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."
Don Giovanni
Times Colonist Victoria 2007

“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…”
Mendelssohn’s Elijah
Winnipeg Free Press 2006

“Monica Huisman (Musetta) was radiant, looking and behaving for all her charms like a 19th century Paris Hilton, spoiled and seeking attention….”
La Bohème
Opera Canada 2006

“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….”
La Bohème
Morning Star: Okanagan Vocal Arts Festival 2005

“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…”
Opera Canada 2005

“Monica Huisman made a winsome Micaela, tugging on Jose’s heart-strings.
Her Act 3 aria Je dis que rien ne m’epouvante was exquisite.”
Carmen
Hamilton Spectator 2005

“Canadian Soprano Monica Huisman as Micaela is blessed with a lovely lyric voice that has
a seductive throaty sound”.
Carmen
Paula Citron CFMX Toronto Classical 2005

“the exploration of bereavement of Strauss’ Four Last Songs’ was a deeply affecting journey with the
heart-rending voice of soprano Monica Huisman..”
Winnipeg Free Press 2005

“Soprano Monica Huisman’s voluptuous Fox was irresistible….”
Cunning Little Vixen
Globe and Mail 2005

“partnered by Monica Huisman as the Fox, whose silken voice and fine stage sense belong in the
show-stealing category…”
Cunning Little Vixen
Review Vancouver 2005

“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…”
Winnipeg Free Press 2004

“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
for this Winnipeg soprano…”
Winnipeg Free Press 2003

“If anyone stood out, it was Huisman’s Musetta, cutting a wide swathe through the hapless
Café Momus men.”
La Bohème
Opera Canada 2003

“an evening of fine singing, especially the ever-blooming soprano of Huisman, who is a treat to hear
every time out…”
Winnipeg Free Press 2002

“listen to young Canadian sensation Monica Huisman in the role of Musetta…”
La Bohème
Globe and Mail 2002

“Monica Huisman’s Musetta is endowed with an enormous voice, used with all its pouting,
preening and sneering velocity in the opera’s best-known aria ‘Quando m’en vo’…”
La Bohème
Times Colonist Victoria 2002

“Monica Huisman’s Musetta is emotionally nuanced and beautifully sung, carefully avoiding the screechiness that Musetta’s coloratura acrobatics so often rise to...” 
La Bohème
The weekender Victoria 2002

“soprano Monica Huisman invested in the role of Frasquita with Fiery Hispanic temperament
and vocal excellence…” 
Carmen
The Courrier Vancouver 2002

“…Monica Huisman’s full soprano was a pleasure in the role of Frasquita.” 
Carmen
Globe and Mail 2002

“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.” 
Die Zauberflöte
Opera Canada 2001

“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.” 
Star Phoenix 2000

“fantastic young soprano Monica Huisman, as one of the high ladies, provided an incredible sound, foreshadowing the tragedy to follow for Francesca da Rimini…” 
de Trouw Amsterdam 2000

“and Winnipeg soprano Monica Huisman, who brought a marvelous voice plus great charm and beauty to the much-put-upon Countess Almaviva...” 
Le Nozze di Figaro
Star Phoenix 1999

"Huisman sang with full throttle vocalism and ample emotion transforming what some might dismiss as a bel-canto bauble into a vivid scene.” 
The Gazette Montreal 1999

“as Musetta, Huisman commanded the stage as well as the the attention of more than just Marcello…. vocally sang with ease and grace….” 
La Bohème
Georgia Straight Vancouver 1998

“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.” 
Le Nozze di Figaro
Globe and Mail 1996

“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.” 
Le Nozze di Figaro
Vancouver Sun 1996

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