Mezzo Soprano

 

What critics are saying about 
Mezzo-Soprano Wendy Hatala Foley:
 
photo by Lindsay Lozon
 
"Wendy Hatala Foley’s Berta is a maid with animated elastic facial expressions, rich mezzo voice, and the hots for her boss Bartolo. She does the physicality of her humour with spontaneous sexy ease." (James Strecker, jamesstrecker.com)
 
 "Mr. Robert Pomakov as Raimondo and Miss Wendy Hatala Foley as Alisa were sensational... During the culmination of the sextet, Miss Hatala Foley was the only female vocal instrument on the stage which soared over orchestration with tremendous ease. Stunning to hear this instrument so unexpectedly excellent. COMMANDOpera marvels at the talent of BOTH of these artists who virtually managed to overshadow all three of the main characters..."
(COMMANDOpera.com)

"Wendy Hatala Foley, commanding a wonderfully rich mezzo-soprano, makes an imposing Queen of the Fairies, looking and acting rather like British actor Janet McTeer in one of her regal roles.  She delivers her famous aria “Oh, Foolish Fay” with wry aplomb, not to the London Fire Chief Captain Shaw of the original but to Stockwell Day.  With Ludwig’s strong Lord Chancellor the forces of mortal versus immortal are well-balanced."
(Christopher Hoile, Stage Door)
 
"Wendy Hatala Foley is an impressive Queen of the Fairies and her musical tribute to Stockwell Day is delicious."
(Richard Ouzounian, Toronto Star)
 
"Mezzo Wendy Hatala Foley (Katisha) sported the most impressive voice of the evening, rich and fulsome in tone." 
(Paula Citron, Opera Canada)
 
"Wendy Hatala Foley, as Katisha, burst on stage like a mad woman escaped from an Italian opera: Her powerful voice and stage presence energized every scene she appeared in." 
(Colin Eatock, The Globe and Mail)

"Wendy Hatala Foley uses her lovely full mezzo to make Katisha, the woman also in love with Nanki-Poo, not the usual witch but a woman fearing a life without love, a feeling she strongly conveys in Katisha's two solo meditations that clearly impressed the entire audience." 
(Christopher Hoile, Eye Weekly)

"I enjoyed the genuine pathos of Wendy Hatala Foley's Katisha. [Gerald Isaac's] Ko Ko and Foley's Katisha make magic together in their last scene." 
(Richard Ouzounian, The Star)

"Wendy Hatala Foley as Katisha sports a magnificent voice." (Paula Citron, 96.3FM)

 
"Mezzo Wendy Hatala Foley made a sympathetic Giunia (Emilia's best friend), her crisp, affecting voice always in polished mode."
(Geoff Chapman, Opera Canada)

"Foley rendered a lovely account of the Pie Jesu, now serene, now urgent, always powerful and expressive." 
(Richard Todd, The Ottawa Citizen)

"Foley has a clear voice and exquisite diction"
(Danny Gaisin, Oakville Today)

"Wendy Hatala had the vocal power and technique to project with ease the beautiful music Purcell wrote for Dido." 
(Robert Jordan, The Georgia Straight)

"...with vigorous and uplifting solo work from Wendy Hatala Foley" 
(Christopher Dafoe, The Vancouver Sun)


"When Wendy Hatala Foley opened the show... I was taken at once by the richness of her voice" 
(Douglas Hughes, The Georgia Straight)

"[Wendy Hatala Foley] sang with passion" 
(Douglas Hughes, The Georgia Straight)

"...sung radiantly, with full chest tones by mezzo-soprano Wendy Hatala Foley." 
(Lloyd Dykk, The Vancouver Sun)

 

 

© 2008 All rights reserved.

Free business website Webnode