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| CRITICAL ACCLAIM |
| RETURN TO CRITICAL ACCLAIM GALLERY or NEWS & FEATURES |
MIMI ~ LA BOHEME
"Alyson Cambridge was an extremely musical
and insightful Mimi. Her radiant singing
epitomized the transient beauty that Mimi
herself represents; each note blossomed like the
flowers opening in spring and it was absolutely
charming to see a Mimi with a beautiful smile.
When Mimi touches Rodolfo’s outstretched
hand in the dark as they search for her key,
Cambridge murmured a small “oh.” The
simplicity and reality of the moment was
perfect." -- Alison Moritz, Opera Today, July 2009
"Alyson Cambridge holds her own as Mimi. Her
amazing voice never relents, bringing both
artistic and vocal range and emotion to the
character. She masterfully captures the tragedy
of Mimi. ." -- Rob Levy, KDHX Radio, May 2009
and insightful Mimi. Her radiant singing
epitomized the transient beauty that Mimi
herself represents; each note blossomed like the
flowers opening in spring and it was absolutely
charming to see a Mimi with a beautiful smile.
When Mimi touches Rodolfo’s outstretched
hand in the dark as they search for her key,
Cambridge murmured a small “oh.” The
simplicity and reality of the moment was
perfect." -- Alison Moritz, Opera Today, July 2009
"Alyson Cambridge holds her own as Mimi. Her
amazing voice never relents, bringing both
artistic and vocal range and emotion to the
character. She masterfully captures the tragedy
of Mimi. ." -- Rob Levy, KDHX Radio, May 2009
Cambridge [as Mimi] declines with a shining soprano under good control
and, it seems, dies faster than many other Mimis we’ve seen. She and her
voice both display great beauty, but since the outcome is known, the
death scene is often extended beyond patience. Not here." -- Joe Pollack,
St. Louis Eats and Drinks, May 2009
and, it seems, dies faster than many other Mimis we’ve seen. She and her
voice both display great beauty, but since the outcome is known, the
death scene is often extended beyond patience. Not here." -- Joe Pollack,
St. Louis Eats and Drinks, May 2009
"...Alyson Cambridge, whose Fasquita made a strong impression in the company's 2004 production of Carmen, is a first-
class Mimi - beautifully fragile and… in very fine voice." -- Chuck Lavazzi, Stage Left St. Louis, May 2009
"Alyson Cambridge... handled the role of Mimi with grace and a strong voice." – Steve Allen, Critic’s Corner, May 2009
"Hapless lovers Mimi (Alyson Cambridge) and Rodolfo (Michael Fabiano) sang stylishly and with conviction...the Lyric
scored well with the two young leads: There was enough romantic tension between them that by Act 3 we really did
care about their fate. Cambridge and Fabiano brought off this Act 3 tear-jerker beautifully...Cambridge has a nicely
rounded soprano that can turn a She is also a woman of striking good looks." -- Paul Horsley, The Independent,
September 2008
"Cambridge displayed a highly attractive voice, with solid resonance and a strikingly beautiful tone that was even
throughout her range. What made her still more successful, however, was her expressiveness, which was evident from
her first aria, “Mi chiamano Mimi”." -- Timothy McDonald, Kansas City Star, September 2008
"Cambridge on her own is phenomenal as Mimi. Worthy of every scene she has onstage, she takes viewers on quite a
journey. From her first beautiful aria, "Mi Chiamano Mimi," to her last, Cambridge's voice is controlled and lyrical,
carrying through Puccini's phrasing impeccably. Her demeanor is sweet, and she really does look devastatingly ill
when her time comes while managing to remain the same tragic and romantic heroine from in the beginning." --
Margarita Reznikova, Tufts Daily, November 2008
class Mimi - beautifully fragile and… in very fine voice." -- Chuck Lavazzi, Stage Left St. Louis, May 2009
"Alyson Cambridge... handled the role of Mimi with grace and a strong voice." – Steve Allen, Critic’s Corner, May 2009
"Hapless lovers Mimi (Alyson Cambridge) and Rodolfo (Michael Fabiano) sang stylishly and with conviction...the Lyric
scored well with the two young leads: There was enough romantic tension between them that by Act 3 we really did
care about their fate. Cambridge and Fabiano brought off this Act 3 tear-jerker beautifully...Cambridge has a nicely
rounded soprano that can turn a She is also a woman of striking good looks." -- Paul Horsley, The Independent,
September 2008
"Cambridge displayed a highly attractive voice, with solid resonance and a strikingly beautiful tone that was even
throughout her range. What made her still more successful, however, was her expressiveness, which was evident from
her first aria, “Mi chiamano Mimi”." -- Timothy McDonald, Kansas City Star, September 2008
"Cambridge on her own is phenomenal as Mimi. Worthy of every scene she has onstage, she takes viewers on quite a
journey. From her first beautiful aria, "Mi Chiamano Mimi," to her last, Cambridge's voice is controlled and lyrical,
carrying through Puccini's phrasing impeccably. Her demeanor is sweet, and she really does look devastatingly ill
when her time comes while managing to remain the same tragic and romantic heroine from in the beginning." --
Margarita Reznikova, Tufts Daily, November 2008
MUSETTA ~ LA BOHEME
"Cambridge completely stole the scene and nearly the entire show. The star
of the second act is always Musetta, and on this day Mimi has found herself
upstaged by Musetta, the part is so much more interesting, and Cambridge
was spectacular vocally as well as being a beautiful physical presence; she
appears in skin tight black leather and knee high stillettos. Finally, she did
of the second act is always Musetta, and on this day Mimi has found herself
upstaged by Musetta, the part is so much more interesting, and Cambridge
was spectacular vocally as well as being a beautiful physical presence; she
appears in skin tight black leather and knee high stillettos. Finally, she did
something rare in opera: she acted; at show's end, as Mimi lays dying Cambridge's acting was as powerful as her
voice. Bravo." -- Quick Take, D.C.
"In each of the four acts, the cast was sensitive to themes of youthful insouciance, struggling poverty and welling
romance. The characters showed their vulnerabilities, a fear about opening themselves to others in such impoverished
confines... Alyson Cambridge's attractive soprano (as Musetta) always held in good stead." -- Daniel Ginsberg, The
Washington Post
voice. Bravo." -- Quick Take, D.C.
"In each of the four acts, the cast was sensitive to themes of youthful insouciance, struggling poverty and welling
romance. The characters showed their vulnerabilities, a fear about opening themselves to others in such impoverished
confines... Alyson Cambridge's attractive soprano (as Musetta) always held in good stead." -- Daniel Ginsberg, The
Washington Post
Alyson Cambridge (Musetta) is so wonderfully over the top in everything she
does that she steals this act. It doesn't hurt that she's in a lavish yellow dress.
She owns every ounce of Musetta and her lavish attempts to make Marcello
jealous….Another high point of this act is the return of Musetta which Alyson
plays much more reserved and down to earth than in Act II. She is superb as
she effortlessly displays both her emotional and vocal range.” – Geoff
Kleinman, PDX.com
does that she steals this act. It doesn't hurt that she's in a lavish yellow dress.
She owns every ounce of Musetta and her lavish attempts to make Marcello
jealous….Another high point of this act is the return of Musetta which Alyson
plays much more reserved and down to earth than in Act II. She is superb as
she effortlessly displays both her emotional and vocal range.” – Geoff
Kleinman, PDX.com
| ALYSON CAMBRIDGE |