PRESS
Britten’s A Midsummer Night’s Dream
“The young lovers too gave finely polished, ardent performances. Particularly notable [was] . . . Carlyle Quinn as Hermia . . . Quinn’s darkly voluminous mezzo is a star sound in the making.”
Mahler’s Des Knaben Wunderhorn
“Quinn’s sound makes an immediate impression — the kind of sizable, dark, almost contralto color that sadly has largely disappeared. She gave a costed, highly charged performance . . . she is a talent to watch.”
Monteverdi’s L’orfeo
“The fine individual timbre and penchant declamatory theatricality of . . . the mezzo Carlyle Quinn, made a huge impact as the Messaggera.”
Leigh’s Man of La Mancha
“Still, the performance that may have stolen the show . . . was Carlyle Quinn as the prostitute Aldonza. Quinn used her magnificent mezzo to fill out her loathing of all the men that purchase her services — and her miserable life as well — eventually softening to become Don Quixote’s Dulcinea as she realizes just who he is. I can’t imagine there was a dry eye in the house when she began the last reprise of ‘The Impossible Dream’.”
Mozart’s Le Nozze di Figaro
“They [Bartolo & Marcellina] are given strong performances, both vocal and comedic, by bass Casey Germain and mezzo-soprano Carlyle Quinn.”
Verdi’s Rigoletto
“. . . the irresistible mezzo-soprano Carlyle Quinn . . .”
Poulenc’s Dialogues des Carmélites
“. . . and for the old prioress, Madame de Croissy (Carlyle Quinn), whose riveting death scene is one of the outstanding moments in the first act. These three characters stood out for their vocal prowess and acting acumen.”
Thomson’s The Mother of us All
“ . . . tenor ChanceJonas O’Toole impressed as the feckless Jo the Loiterer, who wants to marry Indiana Elliot (the assertive Mezzo Carlyle Quinn) . . .”
“. . . paired with mezzo Carlyle Quinn’s Annie Oakley-ish Indiana Elliot.”
“. . . the brash Carlyle Quinn . . .”
IMa:NÜRNBERG symphoniker Concert
“Carly[le] Cooney [Quinn] aus den USA erfreute die Neumarkter ganz besonders, denn ihr Vortrag, die Arie des Orfeo, kam aus der Feder von Christoph Willibald Gluck. Die Jungstudentin verstand es ausgezeichnet, mit ihrer Altstimme der Dramaturgie des Textes zu folgen.”
“Überhaupt erweisen sich die Frauen als besonders intensive Gestalterinnen: auch die angeblich erst 17 Jahre alte Jungstudentin Carla [Carlyle] Cooney [Quinn], die sehr geschmackvoll und mit samtener Tiefe die berühmteste Gluck-Arie sang. Als Reverenz vielleicht an dessen Oberpfälzer Heimat, die bis zum 8. August die IMA-Studenten empfängt und bewirtet.”
Metroarts: Young Artist Debut! Concert
“In the second half, mezzo Carly[le] Cooney [Quinn] offered “Che farò senza Euridice,” from Gluck’s ‘Orfeo ed Euridice,’ with a lustrous tone and impressive expression. Even after hearing dozens of the young musicans MetroArts has featured, invariably I have moment of disbelief at the concerts, and this was one of them. You can make that sound, and you’re really 13? C’mon, let’s see your driver’s license. Oh, wait, you don’t even have a learner’s permit yet.”