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New York Concert Review
“Mezzo-soprano Holly Sorensen, whom one has admired in prior DCINY performances, brought her vibrant sound most notably to "Behold, a virgin shall conceive." It is one of the untold challenges of oratorios that often a soloist will need to sit still onstage for half an hour or longer before uttering their first sounds, with any warm-ups they have done beforehand becoming a distant memory.
Sometimes, because of this waiting, one can detect a hesitancy at the openings of such solos - but not here.
Ms. Sorensen was strong, assured, and persuasive from the start”.
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Deseret News
"Her maid Suzuki's (played by Holly Sorensen) lamentation in the final scene is impactful and memorable." |
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Creative Loafing - Tampa Fl.
David Warner
"As Dalila, Holly Sorensen is lovely of voice. She's clearly a conniver; we're always aware that her flirtatiousness is a trap. In her seduction scenes with Samson she plays Dalila as coquette, which is the approach some divas have taken to this role,(e.g. Shirley Verrett). Sorensen's creamy mezzo soars lusciously in the famous love aria 'Mon coeur s'ouvre a ta voix'. And when she returns in the final act, imperious in victory, her sarcasm as she mockingly reprises the aria to the now vanquished Samson is breathtaking in its cruelty." |
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Tampa Bay Times
John Fleming
"The mezzo-soprano makes or breaks Samson et Dalila, and Sorensen, playing the femme fatal for the first time, rose to the occasion. In the enthralling act 2 aria, 'Mon coeur s'ouvre a ta voix', her low notes were richly expressive, the middle was solidly supported, as Dalila charmed Samson into revealing the secret of his strength." |
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Greenwich Times
Jeffrey Johnson
"Sorensen had a colorful sound and impressive legato phrasing" |
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New York Concert Review
Jeffrey Williams
"Mezzo Soprano Holly Sorensen was radiant in the solo part written for contralto. What was particularly striking was how well the four soloists balanced in ensemble sections; it is not unusual for one voice to overshadow the others, but there was no instance of that here." |
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Reichel Recommends
"Holly Sorensen, who sang her solos with beautifully crafted expressiveness and lyricism. Sorensen has a rich vibrant voice, and it was wonderfully suited to the music." |
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Opera News
Robert Coleman
"Holly Sorensen played the mother, Gertrude...her plaintive mezzo cut through the score's thick orchestration" |
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The Morning Call - Allentown, PA
Steve Siegel
" With stellar performances by the soloists..., Mezzo Soprano Holly Sorensen lent her arias a rich and voluptuous warmth." |
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Reichel Recommends
" Holly Sorensen sang with conviction as the mother" |
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Opera News
“Holly Sorensen had a grand time as Sorceress!...dispensing attitude with relish and producing some impressively chilling tones” |
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Salt Lake City Tribune
"Mezzo Soprano Holly Sorensen was believable as the frazzled mother...it was clear that this was a loving family despite the strains brought on by financial hardship" |
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Greenwich Times
"Sorensen, a mezzo soprano with truly luscious tones" - |
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New York Times
“Holly Sorensen was a fine Sorceress” |
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Eugene Opera - Opera LArchives
Alisa Mclaughlin
"Holly Sorensen dazzled with Cruda sorte from L'Italiana in Algeri, handling the runs and passagio with ease. I definitely want to hear her again!" |
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Greenwich Citizen
“Mezzo Soprano, Holly Sorensen…. beautiful to see and hear” |
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The Advocate - Greenwich, CT
Mezzo Soprano, Holly Sorensen sang the chromatic music of Mary with earthy warmth and anchored a lovely ensemble in the closing section of the work." |
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New York Times
“Holly Sorensen was more than adequate on the small alto roles”
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Reichel recommends
Mezzo Soprano, Holly Sorensen, was in fine form and brought a lot to the performance. There were many memorable moments when the soloists sang. Among them were Sorensen's Laudamus te and Agnus Dei. |
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Greenwich Citizen
" The glamorous mezzo soprano, Holly Sorensen" |
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