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  Sopranos: Heather Engebretson - Reviews
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Les Troyens‚ Hamburg State Opera
BachTrack.com (February 2017)


'There was plenty to enjoy among the supporting cast‚ from Kartal Karagedik’s lusty Coroebus and Heather Engebretson’s lyrical Ascanus...'

Turandot‚ Opéra Royal de Wallonie
ConcertoNet.com (October 2016)


'Engebretson’s voice is agile‚ the timbre is pretty and the role’s quintessential legati are both beautiful and solid.'

Turandot‚ Opéra Royal de Wallonie
Opera Online (October 2016)


' La soprano américaine Heather Engebretson apporte à Liù un timbre inhabituellement corsé pour cette partie‚ mais également un sens inné du phrasé puccinien et une intensité touchante‚ ///American soprano Heather Engebretson Liù brings an unusually strong tone for this part‚ but also an innate sense of phrasing Puccini with touching intensity‚ '

Turandot‚ Opéra Royal de Wallonie
Giornale Della Musica (September 2016)


' Finale che già era carico di emozioni per la bella prova della ventiseienne soprano americano Heather Engebretson nella parte appunto di Liù‚ che partita in sordina‚ fisicamente assai minuta‚ nel primo atto sembrava piccolina pure nel canto‚ per sfoderare poi con grinta tutte le sue capacità vocali e d’interpretazione‚ così conquistando gli applausi più calorosi.'

Turandot‚ Opéra Royal de Wallonie
Omm.de (September 2016)


'Dafür avanciert Heather Engebretson als Sklavin Liù zum absoluten Publikumsliebling. Mit sauber intonierten‚ glasklaren Höhen begeistert sie zum einen in ihrer großen Szene im zweiten Akt‚ wenn sie verzweifelt versucht‚ Calaf davon abzubringen‚ sich der Prüfung zu stellen‚ und bewegt in ihrer großen Schlussszene‚ wenn sie bereit ist‚ für Calaf zu sterben. Da die Oper an dieser Stelle auch endet‚ hätte sie schon fast eher den Titel Liù statt Turandot verdient.'

Turandot‚ Opéra Royal de Wallonie
OpernNetz (September 2016)


' Dem hohen Stellenwert der Liù‚ den Cura der Partie beimisst‚ entspricht Heather Engebretson‚ die die Rolle mit lyrischer Wärme erfüllt und neben Cura zum Star des Abends avanciert.'

Werther‚ Royal Opera House Covent Garden
Opera (September 2016)


'Heather Engebretson was a winning Sophie‚ with all the energy and above-the-staff flexibility the part requires‚ but also with the necessary vocal heft.'

Werther‚ Royal Opera House Covent Garden
BachTrack.com (June 2016)


'Heather Engebretson made a notable impression as Sophie‚ acting the girlishness nicely as well as giving us a bright clear soprano.'

Werther‚ Royal Opera House Covent Garden
Mark Ronan.com (June 2016)


'A wonderful performance too by Heather Engebretson showing lyrically youthful enthusiasm in her debut as Charlotte’s younger sister Sophie'

Werther‚ Royal Opera House Covent Garden
MusicOMH (June 2016)


'The rest of the cast is equally strong. Heather Engebretson‚ first seen at the Royal Opera House last September as Barbarina in Le nozze di Figaro‚ is a superb Sophie who always brings appropriate volume and levels of vibrato to her singing‚ while still making her sound feel sweet and light at every turn. She also makes us appreciate how the opera is also about Sophie’s tragedy for she too loses the man she loves
'

Werther‚ Royal Opera House Covent Garden
New Statesman (June 2016)


'DiDonato and Grigolo are aided by as strong a supporting cast as this production has yet fielded. The stand-out is Heather Engebretson’s Sophie – guileless in her joy‚ all vocal bloom and sweetness of tone...'

Werther‚ Royal Opera House Covent Garden
Opera Britannia (June 2016)


'The one bright spark in all this is Heather Engebretson – American – who sang a nicely full-bodied‚ silvery Sophie (she’d be very welcome as Strauss’s too‚ I’m sure) and who whirls around the stage like a force of nature to boot.'

Werther‚ Royal Opera House Covent Garden
Seen & Heard International (June 2016)


'Heather Engebretson‚ was a tomboyish Sophie‚ also clearly infatuated with Werther. She sang with fresh‚ sunny tone and was utterly enchanting. '

Werther‚ Royal Opera House Covent Garden
The Guardian (June 2016)


'Bright-toned American soprano Heather Engebretson is genuinely touching as Charlotte’s younger sister Sophie...'

Werther‚ Royal Opera House Covent Garden
The Stage (June 2016)


'Charlotte’s sister‚ Sophie‚ is Heather Engebretson‚ who skips and bounds around full of youthful optimism. She’s equally agile of voice with a purity of tone that makes her a joy to listen to. '

Werther‚ Royal Opera House Covent Garden
What’sOnStage.com (June 2016)


'Heather Engebretson‚ too‚ is ideal in the hard-to-cast role of Sophie‚ Charlotte’s teenage sister‚ with a soprano voice that’s nicely edged with childishness while being stylishly musical and fully controlled. '

Le nozze di Figaro‚ Royal Opera House Covent Garden
BachTrack.com (September 2015)


'Diminutive soprano Heather Engebretson stood out as a feisty Barbarina‚ a most promising Royal Opera debut'

Le nozze di Figaro‚ Royal Opera House Covent Garden
Classical Source.com (September 2015)


'Heather Engebretson’s sparkling Barbarina compensated for Susanna’s more considered circumspection'

Le nozze di Figaro‚ Royal Opera House Covent Garden
Guardian (September 2015)


'There’s luxury casting elsewhere. Heather Engebretson does fine things as Barbarina'

Le nozze di Figaro‚ Royal Opera House Covent Garden
Harper’s Bazaar (September 2015)


'...extra fizz by two young American singers - Kate Lindsey singing a feisty‚ charmingly boyish Cherubino‚ and Heather Engebretson minxing as Barbarina with a generous soprano voice'

Le nozze di Figaro‚ Royal Opera House Covent Garden
Londonist.com (September 2015)


'American sopranos Ellie Dehn and Heather Engebretson make their Royal Opera debuts as the Countess and Barbarina respectively and their voices and acting both do credit to their secondary roles'

Le nozze di Figaro‚ Royal Opera House Covent Garden
MusicOMH.com (September 2015)


'Heather Engebretson‚ also making her Royal Opera debut‚ is a superb Barbarina‚ really making the minor key come to the fore in her beautiful performance of ‘L’ho perduta‚ me meschina’'

Le nozze di Figaro‚ Royal Opera House Covent Garden
Seen & Heard International (September 2015)


'Nearly stealing the show from Schrott‚ Lindsey and Degout was Heather Engebretson’s most engaging Barbarina‚ her Act 4 “L’ho perduta” not only lovely but also eminently believable'

Le nozze di Figaro‚ Royal Opera House Covent Garden
The Stage (September 2015)


'...even the smaller roles cut through‚ notably Heather Engebretson’s wide-eyed Barbarina'

Le nozze di Figaro‚ Royal Opera House Covent Garden
The Times (September 2015)


'Newcomer Heather Engebretson was a superbly fiery Barbarina'

Le nozze di Figaro‚ Royal Opera House Covent Garden
What’s On Stage.com (September 2015)


'The scene stealer in this revival is Heather Engebretson as Barbarina‚ who peeps in like a schoolgirl then pipes up like a diva. The young American is a name to watch and a perfect partner for Kate Lindsey’s gangling‚ hopelessly priapic Cherubino'

La Bohème‚ Staatstheater Wiesbaden
Echo Online.de (October 2014)


'Heather Engebretson gibt – ganz Vamp – eine resolute‚ verführerische Musetta /// Heather Engebretson is - quite Vamp - a feisty‚ seductive Musetta'

La Bohème‚ Staatstheater Wiesbaden
Wiesbadener Kurier (October 2014)


'Mit katzenhafter Gelenkigkeit fegt Heather Engebretson als kokette Musetta über die Bühne‚ zeigt Krallen‚ lässt ihren Sopran funkeln und singt ihren Walzer mit Grazie und Eleganz /// With cat-like agility Heather Engebretson’s Musetta sweeps coquettishly across the stage‚ showing claws‚ shine and sparkle of her soprano and sings her waltz with grace and elegance'

Un ballo in maschera‚ Staatsoper Hannove
Das Opernglas (November 2013)


'Eine Entdeckung war ohne Zweifel die erst dreiundzwanzigjährige Ame rikanerin Heather Engebretson. Die Gewinnerin des letztjährigen Gesangswettbewerbs im finnischen Savonlinna zeigte‚ dass ihr Sopran als Oscar derzeit perfekt eingesetzt ist‚ denn Volumen‚ Agilität‚ ein nicht zu silbriges Timbre und eine klare Höhe boten eine gute Grundlage für diese Rolle. An Gilda und eventuell Violetta kann man sicher schon zumindest denken. Darstellerisch verstand es die junge Sängerin ebenfalls‚ sich jederzeit perfekt in Szene zu setzen‚ was das Publikum auch dazu veranlasste‚ ihr den meisten Applaus in der Sängerriege zu spenden / A great discovery without doubt was the 23-year old American soprano Heather Engebretson. As the winner of last year´s competition in Finland in Savonlinna‚ she showed here that her voice is perfect for the role of Oscar - the basis of which is volume‚ agility‚ a not overly silver timbre‚ and a clear top. One´s thoughts sped to Gilda and Violetta as well. Acting-wise‚ the young soprano was consistantly perfect in maximizing every scene she was in. This caused the audience to give her the most applause of the evening of the entire cast'

Un ballo in maschera‚ Staatsoper Hannover
Hannover Allgemeine (September 2013)


'Der Publikumsliebling des Abends aber ist die quirlige Heather Engebretson als Page Oscar: quicklebendig in Bewegung und Stimmführung‚ agil‚ bühnenfüllend trotz ihrer Zierlichkeit‚ eine Bereicherung des Ensembles. Am Ende sehr herzlicher Beifall eines Publikums‚ das schon nach den Arien (und manchmal bei Atempausen auch mittendrin) gerne applaudiert hatte'

Un ballo in maschera‚ Staatsoper Hannover
NDR Kultur (September 2013)


'Nicht nur visuell-- auch musikalisch ist dieser Opernabend ein Hochgenuss: von den großartig besetzten Hauptpartien über die sängerische Entdeckung des Abends-- Ensemble-Neuzugang Heather Engebretson als zauberhaft-quirliger Page Oscar-- bis hin zu Dirigent Mark Rohde‚ der sämtliche Widersprüche und Abgründe in Verdis Musik zielsicher auslotet'

Un ballo in maschera‚ Staatsoper Hannover
Neue Presse (September 2013)


'Publikumsliebling ist Ensembleneuzugang Heather Engebretson als auch stimmlich höchst verfürerischer Page Oscar-- als Zirkusdienerin in sexy hohen schwarzen und (hier wird auch detailreich an den Kostümen gearbeitet) zum Schluss roten Stiefeln'

Un ballo in maschera‚ Staatsoper Hannover
Online Musik Magazin.de (September 2013)


'Heather Engebretsons höchst beweglicher‚ koloraturfreudiger Sopran verleiht dem Oscar die gewünschte Lebendigkeit und Leichtigkeit /// Heather Engebretsons highly flexible‚ joyful coloratura soprano gives Oscar the desired liveliness and lightness'

Un ballo in maschera‚ Staatsoper Hannover
Weser Kurier (September 2013)


'Einen Glanzpunkt nach dem anderen setzte Heather Engebretson als Oscar mit einer koloratursicher geführten Stimme‚ die zuweilen das gesamte Ensemble und Orchester überstrahlte /// One highlight was Heather Engebretson as Oscar‚ with her secure coloratura and focussed voice‚ sometimes outshone the entire ensemble and orchestra'

Eröffnungskonzert‚ Staatsoper Hannover
Neue Presse (August 2013)


'...Und präsentierte gleich noch einen künftigen Star. Ziemlich klein von Gestalt‚ aber was für eine Stimme und Bühnenpräsenz‚ diese Heather Engebretson. Die 23-jährige Amerikanerin ist neu im Ensemble. She gewann in Finnland einen Gesangswettbewerb‚ und Hannovers Oper griff gleich zu. Sie singt den Oscar im kommenden "maskenball"‚ holte sich mit einer Arie daraus schon vorab an diesem Abend Riesenbeifall /// ...And presented a future star (rather small in stature--but what a voice and stage presence)‚ Heather Engebretson. The 23-year-old American is new to the ensemble. She won a singing contest in Finland‚ and came at once to Hannover’s Opera. She sings the Oscar in the upcoming Un ballo in maschera and‚ with one of Oscar’s arias‚ won great applause this evening'

Verdi Requiem‚ Nürnberg/Erlangen
Erlangen Nachrichten (November 2012)


'Am meisten überraschte die kleine‚ zierliche Heather Engebretson‚ die mit ihren zarten 22 Jahren die gewaltig schwere Sopranpartie souverän und atemberaubend klangschön meisterte /// Most surprising was the small‚ petite Heather Engebretson‚ who at twenty-two years of age mastered the extremely difficult soprano role with great ease‚ and sang with a breathtakingly beautiful sound'

Verdi Requiem‚ Nürnberg/Erlangen
Nürnberger Nachrichten (November 2012)


'Zeitweise wurde das alles aber überglänzt vom mädchenhaft strahlenden Sopran der Heather Engebretson aus der New Yorker Juilliard-Talentschmiede von Edith Wiens. Da begegnet man einem grossen‚ ernsten‚ gestalterischen Talent‚ mehr einem faszinierenden Experiment als einem fertigen Resultat‚ das an den silbernen Klang ihrer Lehrerin in deren grossen Zeiten erinnert. Am Ende halt sie ihren Klavierauszug fest an sich gepresst: Da scheint das ewige Licht ganz aus ihrem Inneren zu kommen /// At times all that was outshone by the brilliant and feminine soprano of Heather Engebretson from Edith Wiens’ talent-factory at New York’s Juilliard School. In her voice we encounter a big‚ serious‚ creative talent‚ more a fascinating experiment than a finished result‚ which recalls the silvery tones of her teacher in her best times. In the last movement she pressed her vocal score tightly to her chest and an eternal light seemed to emanate from within her'

Verdi Requiem‚ Nürnberg/Erlangen
Nürnberger Zeitung (November 2012)


'Mit leuchtenden Sopranhöhen gelang Heather Engebretson (auch als Geigerin solistisch active) das ‘Libera me /// With a vibrant soprano‚ Heather Engebretson succeeded (she is also active as a violin soloist) in the “Libera me”'

Kommilitonen!‚ Julliard School
Billevesées (November 2011)


'I approved enthusiastically of everyone onstage‚ and the aforementioned‚ along with Wallis Giunta (in the trouser role of the Chinese son)‚ Heather Engebretson (the Chinese daughter)‚ and Deanna Breiwick (Sophie Scholl)‚ impressed me especially. The last-named are all exceptionally attractive young ladies‚ too...'

Kommilitonen!‚ Julliard School
Musical America (November 2011)


'Noah Baetge‚ a tenor singing Christoph Probst and the Evangelist‚ made a good impression‚ as did Wallis Giunta and Heather Engebretson‚ as the Chinese students Wu and Li'

Kommilitonen!‚ Julliard School
New York Times (November 2011)


'Li (Heather Engebretson‚ a sweet-voiced soprano)'

Ariadne auf Naxos‚ Cleveland Instiute of Music
Cool Cleveland.com (February 2010)


'Ms. Engebretson‚ on the other hand‚ had a goodly share of the second act on her slender shoulders‚ as well as frequent shorter appearances during the first act. She was capricious‚ sensuous and delightful in her role as a woman who finds too many men to be highly irresistible! Her second act aria nearly stopped the show‚ and deservedly so'

Ariadne auf Naxos‚ Cleveland Instiute of Music
The Cleveland Plain Dealer (February 2010)


'Heather Engebretson tackled Zerbinetta’s coloratura flights and coquettish nuances as if they were extensions of her adorable personality. She was precise‚ funny and tender. In short‚ a knockout'