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"Compelling singing from the young cast that included Julianne Gearhart in the title role" The Boston Globe "Julianne Gearhart was perfect as Artemisia, combining movie-star looks with a strong, crystalline voice." Boston Classical Review "The Falke, beautifully characterized with her red coat and clear call, constantly reminds that the Emperor will turn to stone - a beautiful rendition of Julianne Gearhart." Classiek Centraal "But the discovery of the evening was Blonde Julianne Gearhart with an exemplarily expressive Durch Zaertlichkeit und Schmeicheln. Go Opera "Of the high-flying Rheinmaidens, Gearhart also took a stellar turn as the Forest Bird." KING FM "Both Gearhart and Coote managed to look the ages the composer specified and sing like angels ... Gearhart was pretty and pristine ... her soaring voice as pure as falling water" Opera News "stellar—Julianne Gearhart as Olympia especially stood out for loveliness of tone combined with power" utopian turtletop.com "Julianne Gearhart excelled" operajaponica "sparkling Julianne Gearhart as the mechanical doll, Olympia, found the ensemble trying out new refinements, energized by Gearhart's charm and finesse." Seattle Times "Gearhart as Sophie—all milky-peachy-gold, ravishingly gowned and lit ... cleverly plays the character (who in other productions has come off as flighty, not too bright, a shade spoiled) as a younger reflection of her rival. Radiant, poised, inexperienced but already smart enough to know what sort of polished behavior is required in upper-class circles—this, it seems is exactly what the Marschallin would have been like when she was 15...Vaness and Gearhart complement each other vocally as well... both voices are capable of soaring beautifully as required." Seattle Weekly "Also in a debut was Gearhart. What a Sophie—pretty, blond, petite, young. And she can sing, easily and naturally, soaring up to those very important high notes." The Post-Intelligencer "Julianne Gearhart was promoted from understudy when the singer originally announced for the role became indisposed, and she seized her opportunity to brilliant effect, fully matching the efforts of her more experienced colleagues. Last season, when she sang Bach’s cantata Jauchzet Gott with the Seattle Symphony, I described her as "a young singer with a sweet and flexible voice [who] demonstrated musicality and technique enough to hold out promise of a considerable talent in the making." A few short months later, that talent has been substantially realized. She has strengthened her line without sacrificing any of the lightness and charm of her vocal production; her portrayal of a wide-eyed ingénue who yet possesses deep potential reserves of character was compelling; and she looks lovely, which is no bad thing in a Sophie." Musicweb-international "Julianne Gearhart, who stepped into the cast on short notice in the crucial role of Sophie, proved her worth as a singing actress who could handle those high Bs with real freedom and ease. Gearhart is a bewitchingly artless Sophie, looking exquisite in the second-act "presentation of the rose" scene and creating an appealing character throughout." Seattle Times |
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