REVIEWS

"With spot-on intonation and a pretty, virginal tone she was a sensation"

Carmina Burana with the National Symphony Orchestra, July 2017

-Charles Downey, Washington Classical Review

Brooklyn Art Song Society: Les Six, January 2024

Soprano Amy Owens and pianist Miori Sugiyama captured the songs varying moods, ranging from whimsy to profound sorrow set to dance-like music, with elan. In addition to her chrystalline soprano, Owens is quite the actress. A gesture as quick and as fleeting as the tilt of her head, coupled with a grin, expressed to perfection the mock serious tale of a dancer who died while standing in her point shoes in “B-ateau.”

Owens and Sugiyama returned for a brilliant account of Darius Milhaud’s Chansons de Ronsard….Brofman described Milhaud’s setting of the words of the great French Renaissance poet as being more extreme for the soprano voice than the Queen of the Night’s arias in Mozart’s The Magic Flute and indeed they are. This, however, is a vocal realm in which Owens reigns supreme. She dispatched ear drum-splitting notes in the stratosphere with ease, aplomb, and beauty. Her wit and theatricality were always on display, as was her ability to switch emotional and musical gears in a heartbeat.

- Rick Perdian, New York Classical Review

Owens’ voice in song one, “A-lbum,” sounded light and buoyant…. it came across as uncontrived, which reassured listeners of Owens’ particular level of awareness towards this song cycle. Owens joyfully delivered wit with purpose.

Song two, “B-ateau,” “A Boat,” was performed with precision and care, especially in Sugiyama’s piano playing. Song three, “D-omino,” “Dominoes,” felt like a blossoming moment where Owens’ voice fully came to life. The phrase, “Le domino, jeu des ménages,” “Dominoes, a household game,” sounded rich and colorful in her soprano.

Soprano Amy Owens and pianist Miori Sugiyama performed Milhaud’s “Chansons de Ronsard Op. 223” together in stride. The high A’s that Owens’ soprano was expected to repeat throughout this piece sounded easy, but only because of Owens’ very disciplined vocal technique. Her throat remained open and her larynx relaxed, as the notes would jump into her highest registers at the drop of a hat. Owens also showed excellent stage presence and this made Milhaud’s challenging melodies appear much lighter and brighter.

This was definitely a highlight in the series to behold and the audience applauded enthusiastically because of it. Amy Owens sounded incredible!

-Jennifer Pyron, Operawire

Utah Festival Opera and Musical Theater: Gentleman’s Guide to Love and Murder, July/August 2023 (Phoebe D’Ysquith)

“Owens sings with a beautiful operatic soprano voice and is sweet and naïve.”

-Danica Francom, Utah Theater Bloggers

Virginia Opera: Pirates of Penzance, November 2022 (Mabel)

“There was a good deal of heart in each of the performances, but the one that stands out is Amy Owens as Mabel. Her vocal control is undeniable. She is a more grounded soprano, as opposed to being too airy, so her performance is well-suited to comic roles. Her “Poor wand’ring one” in the first act is a delight.”

- Darby Dejarnette, DC Theater Arts

“Amy [Owens’] performance as Mabel lit up the stage. Her silvery, focused soprano caressed each melodic contour, notably in “Poor Wandering One,” where she also milked the parodic bursts of coloratura for all they were worth.”

-Tim Smith, Opera News

“Mabel, the object of his affections was played to perfection by soprano Amy Owens. Her beautiful light, lilting voice and vocal agility added the right touch of humor in spoofing Mr. Verdi and Mr. Puccini.”

-Michael Rodgers, Sound In Depth/Opera Gene

Brooklyn Art Song Society: The World At War, In Memoriam, October 2022

“Soprano Amy Owens gave a glowing account of the charming melodies in Granados’s settings of Renaissance love poems.”

- Rick Perdian, Seen and Heard International 2022

Chicago Opera Theater: Becoming Santa Claus, December 2021 (Yan)

“The true pillars of the opera, however, were the four elves, played by mezzo-soprano Leah Dexter, soprano Amy Owens, tenor Justin Berkowitz, and bass Matt Boehler, all of whom were on stage throughout the entire 90-minute opera. Their crystalline diction, precise comedic timing, and vocal assuredness in the face of unusual harmonies and rapid-fire syllabic text propelled this production to success.

“Owens’ impossibly high soprano was charming and awe-inspiring as she threw out high E’s like it was nothing.”

-Katherine Buzard, Chicago Classical Review

Santa Fe Opera: Sweet Potato Kicks the Sun, October 2019

“Amy Owens, a former Santa Fe Opera apprentice, offered a totally convincing portrayal of Sweet Potato, notable for her loose-limbed physicality and ability to range through a variety of emotions. She’s a light-voiced soubrette soprano whose coloratura flights made total sense as part of her trickster character.”

-Mark Tiarks, Pasatiempo

Michigan Opera Theater: Sweeney Todd, November 2019

“The bell-voiced Amy Owens is enchanting as Sweeney’s long-lost daughter, Johanna.”

-Ronelle Grier, The Oakland Press

National Symphony Orchestra: Carmina Burana, October 2019

Amy Owens, who was a sensation as a substitute at that 2017 Wolf Trap concert, returned for the soprano solos. If anything her performance this time around was more assured, the perfect combination of purring, sensuous phrasing and clear-toned innocence. At the climax of the final section, the sighing coloratura escapade “Dulcissime,” Owens drew out each phrase, savoring the flight up to and around a pristine high D. She was matched demurely by the young voices of the Children’s Chorus of Washington, arranged in a single row at the front of the chorister seats.”

-Charles Downey, Washington Classical Review

“Soprano Amy Owens delivered a beautiful, vibrant tone”

-David Rohde, Bachtrack

Utah Symphony: Candide, November 2018

“Owens showed the vocal brilliance to pull off the demands of her role. She sang her high notes effortlessly and gave a stunning rendition of the showstopper ‘Glitter and be Gay.’ She also showed remarkable acting talent, playing up the sassiness of her role wonderfully.”

-Utah Arts Review

“Amy Owens as Cunegonde also slayed in the show’s best-known song, “Glitter and Be Gay.” In the number, Owens put on an operatic clinic, showcasing a dazzling array of vocal abilities. During the extended applause that resulted, the man next to me exclaimed, ‘That’s why I came! To see that right there!’”

-Utah Theater Bloggers

Library of Congress: Bernstein Centennial Concert, May 2018

Amy Owens was marvelous in the show-stealer “Glitter and Be Gay,” cracking up not only the audience, but the other singers on stage, so that they had to take a break before finishing with Bullock’s moving “Somewhere.”

-Anne Midgette, Washington Post

Omaha Symphony: Mahler 4, April 2018

Amy Owens returned to Omaha to sing the soprano passage in the final movement of Mahler’s 4th. Her voice was fresh and electrifying. The audience warmly stood and applauded Owens and the Omaha Symphony.

-Drew Neneman, Omaha World Herald

Livermore Valley Opera: Un Ballo in Maschera, March 2018

However, the king’s page, Oscar, leaps to Ulrica’s defense with the aria “Volta la terrea.” In this trousers role, bell lyric soprano Amy Owens absolutely delights with a bright, virtuoso coloratura rendering of the aria. Her petite youthfulness produces a characterization that is charming and highly believable. -Victor Cordell, For All Events

In the ballata “Volta la terrea,” her coloratura flows like sparkling champagne through dotted eighth notes and runs of sixteenth notes when she devilishly gives credit to Satan for Ulrica’s gifts of prophecy, and ends by belting out the word “Hell” on a bombastic high B-flat. -Sarah Bobson, The Independent

On Site Opera: La mère coupable, June 2017

“Amy Owens, possessed of a radiant soprano, was a passionate Florestine, convincing in both her grief and her joy.” -Joshua Rosenblum, Opera News

Florestine, the sister and ward of the count, was sung by Amy Owens. She has a lovely light coloratura voice and soared over a demanding range easily. -Susan Hall, Berkshire Fine Arts

Amy Owens was the coloratura soubrette incarnate, with the most effortless high notes -Harry Rolnik, Concerto Net

Amy Owens' gleaming soprano made for a scene-stealing Florestine -Richard Sasanow, Broadway World

The two soprano leads – Ms Black in the title role and Amy Owens as Florestine -- handled Milhaud’s melting lines with keen sensitivity. Ms Owens was the cast’s standout. -Sacha Evans, Bachtrack

Amy Owens’ Florestine was a fetching blonde ingenue with a gleaming coloratura; I look forward to hearing what else she can bring to new music. -Joel Rozen, Parterre

"Soprano Amy Owens made a winsome, sometimes fearful Florestine with impressive accuracy and some thrilling high notes.” -Bruce Hodges, Musical America

Wolf Trap Opera: L'opera Seria, July 2016

"Amy Owen’s light soprano and pert presence as the rising star of the company, Porporina (purple-faced), was compelling, and to her belonged the comic high-point of the whole evening, the hilarious dolphin and fish song, where everyone laughed so loud as to rival the music. But what a good complaint! Her mic drop at the end was a killer touch.”

-Hilary Stroh, Bachtrack

Wolf Trap Opera: Rape of Lucretia, June 2016

"Sarah Larsen’s hearty mezzo as Bianca and Amy Owens’ sweet tone as Lucia also hit the spot, as did their finely detailed portrayals." -Tim Smith, Opera News

Bright soprano Amy Owens also shines in the minor role of Lucia, Lucretia’s maid. -Mark Paarlberg, Washington City Paper

Also, the bright, silvery tone of Amy Owens as Lucia, the maid, and the warm, soothing sounds of Sarah Larsen as the nurse, Bianca. -Philip Kennicott, Washington Post

New Opera Showcase January 2016

"The vocal lines showed off the beautiful voices onstage, and Amy Owens, who filled in for a sick Maureen McKay, gave us a lovely performance with an expert control of dynamics in her coloratura range, seamlessly sliding from pianissimo to forte on several occasions." -Soprano in the City

"Soprano Amy Owens was astounding in Corigliano's stratospheric writing for Florestine." -Classical Voice North America

"As Despina, Amy Owens steals the scene every time she walks onstage....Owens carries it off with glee, whether popping up in phony officials’ wigs and gowns or hovering over the sisters to powder and paint them as she slyly manipulates them....a triple threat in the theater." -Naples Daily News

"Amy Owens lent her soprano voice to the lyric modal machinations of the three featured pieces....Owen’s soprano was clear and articulate in every selection as she painted the very different pictures of each song–we heard a lifetime in the span of a few moments." -Sherri Rase, Qonstage

Utah Opera: Abduction from the Seraglio, 2014

"Utah Opera's season-ending production of The Abduction From the Seraglio (seen May 10) got a shot in the arm in Act II from soprano Amy Owens, an ebullient resident artist with the company cast as Blonde. Owens' plucky Blonde was a breath of fresh air, charming her captors into submission and dishing out a healthy dose of attitude when more subtle wiles failed. Owens's lyric soprano was as uninhibited and pointed as her character. Throughout the aria "Durch Zärtlichkeit und Schmeicheln," she negotiated runs cleanly with open top notes and trills that matched her sparkling wit." -Opera News

"abundant charm and solid technique." -Salt Lake Tribune

"Amy Owens is positively infectious as Blonde, easily stealing the show. Her comedic timing, dazzling vocals, and darling personality are the work of a true professional and exactly what the opera deserves." -Cliff's Music Picks

"engaging, charismatic....strong performance with both vocals and acting.... Owens added a much-needed dose of energy and spunk to the production. A natural on the stage, she stole the show with the scene in Act II when she teases Osmin and stands up to him." -Reichel Recommends

"likable demeanor, acting skills, and clear voice" -The Utah Review

"A fine assembly of supporting characters was led by Utah Opera resident Amy Owens as Annina, whose engaging bell-like soprano heightened her brief vocal opportunities." -Opera News

"Utah Opera resident artist Amy Owens stole the show with a pristine soprano and vivacious enthusiasm as Papagena. This attractive young singer has a bright future." -Opera News

"Amy Owens was a mischievous and high-spirited Papagena." -Salt Lake Tribune

"Amy Owens, playing Susanna, bubbled her way through the evening.... Owens's high-flying vocals were later heard in a technically clean and focused Queen of the Night aria and Bernstein's 'Glitter and be Gay." -Opera News