REVIEWS

Lucio Silla: Review

Opera Now!-Oliver Camacho

 

Lucio Silla: Review

The Chicago Tribune-John von Rhein

A strong cast [was] headed by Maeve Höglund as Giunia, her creamy, technically secure soprano possessing the proper weight and agile coloratura needed for the opera’s pivotal role…. Höglund brought drama aplenty to her recitative and agitated aria that end the second act.”

 

Lucio Silla: Review

Chicago Reader-Deanna Isaacs

In each production, there’s also a dominant element: … at COT, it’s soprano Maeve Höglund’s standout performance as Giunia, the object of Silla’s unwanted affection.”

 

Lucio Silla: Review

Chicago Classical Review-John Y. Lawrence

Höglund’s Giunia was a marvel…. In this production, the virtuous Giunia is transformed into a hothead who almost stabs Silla with scissors during her rage-filled first aria ‘Dalla sponda tenebrosa.’ Höglund adjusted the color of her voice to her character’s many moods. She pulled off the requisite vocal pyrotechnics with aplomb, but was equally moving in the simple recitative ‘Se l’empio Silla.”

 


Le Nozze di Figaro: Review

South Florida Classical Review-Lawrence A. Johnson

As Susanna, Maeve Höglund … sang with dedication and rose to the challenge of ‘Deh vieni, non tardar’ with a graceful rendering.”

 


Le Nozze di Figaro: Review

Your Observer-June LeBell

Maeve Höglund’s Susanna (Figaro’s fiancée) was both beguiling and playful. Susanna is on stage more than she’s off, and almost everything in the opera centers on her ingenuity, shrewdness and skill as a sweet but clever young woman. Between her bright voice and appealing demeanor, Höglund gave us a memorable and winning Susanna.”

 


Baden-Baden 1927: Review

New York Times-Vivien Schweitzer

Portrayed with flair by the excellent soprano Maeve Höglund…”
Ms. Höglund again sang effectively as the adulterous Helene…”

 

Baden-Baden 1927: Review

New Jersey Star-Ledger-Ronni Reich

Soprano Maeve Höglund gamely portrays the delicate princess, with a vibrant range of expression as a soaring bedtime aria breaks into hysteria…”

Eliogabalo: Review

New York Times-Anthony Thommasini

Also outstanding are the soprano Maeve Höglund as Atilia…”

 

Tales of Hoffmann: Review

New York Times-Steve Smith

Maeve Höglund brought a lovely voice and real pathos.”

 

Arianna Project: Review

New York Times-Steve Smith

A consistently vivid actress, Ms. Höglund conveyed nearly as much with her flashing eyes as she did with her rich, penetrating voice”

 

Ms. Höglund took a turn with the book during a Corelli sonata presented as an instrumental interlude, flipping through phrases like silent-movie caption cards. It might have amounted to tony pantomime, had it not been for the aching pathos her facial expressions conveyed.”