Cavalleria Rusticana -- Staatstheater Darmstadt
"Santuzzas adversary Lola was both gracefully and promiscuously played by Erica Brookhyser with flexibility in both voice and body." -- Klaus Trapp, Darmstädter Echo
"Santuzzas adversary Lola was both gracefully and promiscuously played by Erica Brookhyser with flexibility in both voice and body." -- Klaus Trapp, Darmstädter Echo
Madama Butterfly -- Staatstheater Darmstadt
"Indeed, the other singers satisfy as well, namely Erica Brookhyser with a warm timbred alto voice as Suzuki."
-- Eckhard Britsch, Opernnetz.de
"In a superb, stage-filling, sliding set painted with Japanese motifs...Erica Brookhyser moves as Suzuki with vocal and theatrical mastery." -- Susannah V. Vergaus, Magazin-News.de
"Indeed, the other singers satisfy as well, namely Erica Brookhyser with a warm timbred alto voice as Suzuki."
-- Eckhard Britsch, Opernnetz.de
"In a superb, stage-filling, sliding set painted with Japanese motifs...Erica Brookhyser moves as Suzuki with vocal and theatrical mastery." -- Susannah V. Vergaus, Magazin-News.de
Das Lied von der Erde -- Staatstheater Darmstadt Orchestra
"Erica Brookhyser sang with a warm timbre; the ideal type of mezzo-soprano for the part. She could also hold her own formidably well over the instrumental ensemble. -- Elisabeth Risch, Rhein-Main Zeitung
"Erica Brookhyser sang with a warm timbre; the ideal type of mezzo-soprano for the part. She could also hold her own formidably well over the instrumental ensemble. -- Elisabeth Risch, Rhein-Main Zeitung
Orfeo ed Euridice -- Staatstheater Darmstadt
"A huge ovation at the final curtain for Erica Brookhyser: with a keen dramatic sensibility and a full earthy alto she powerfully sang and acted the anguish and happiness of the title hero." -- Thomas Wolff, Darmstädter Echo Zeitung
"In the central role of Orfeo, Erica Brookhyser's mezzo-soprano is capable of taking on almost androgynously dark colors, while still sounding fresh, agile and luminescent." -- Axel Zibulski, Rhein-Mein Allgemeine Zeitung
"Particularly captivating was the freshness and grace of Erica Brookhyser, which she conveys not only through her singing, but also through her dancer's bearing in this role. She endowed Orfeo with memorable gestures, singing with the whole body lying down and in lifts and turns." -- Eva-Maria Magel, Frankfurter Allgemeine Zeitung
"Sung nearly to perfection: The American Erica Brookhyser sings the large role of Orfeo. She captivates with a smooth mezzo, long lines and with her enchanting timbre she achieves a wide variety of expressions for pain and happiness." -- Eckhard Britsch, Opernnetz.de
"A huge ovation at the final curtain for Erica Brookhyser: with a keen dramatic sensibility and a full earthy alto she powerfully sang and acted the anguish and happiness of the title hero." -- Thomas Wolff, Darmstädter Echo Zeitung
"In the central role of Orfeo, Erica Brookhyser's mezzo-soprano is capable of taking on almost androgynously dark colors, while still sounding fresh, agile and luminescent." -- Axel Zibulski, Rhein-Mein Allgemeine Zeitung
"Particularly captivating was the freshness and grace of Erica Brookhyser, which she conveys not only through her singing, but also through her dancer's bearing in this role. She endowed Orfeo with memorable gestures, singing with the whole body lying down and in lifts and turns." -- Eva-Maria Magel, Frankfurter Allgemeine Zeitung
"Sung nearly to perfection: The American Erica Brookhyser sings the large role of Orfeo. She captivates with a smooth mezzo, long lines and with her enchanting timbre she achieves a wide variety of expressions for pain and happiness." -- Eckhard Britsch, Opernnetz.de
Nabucco -- Staatstheater Darmstadt
"Erica Brookhyser shone for her cultivated lyrical tone as Abigaille's half-sister Fenena."
-- Johannes Breckner, Darmstädter Echo
"Erica Brookhyser (Fenena) offers touching lyricism." -- Andreas Bomba, Frankfurter Neue Presse
"Of the soloists, Fenena (Erica Brookhyser) and Abigaille (Katrin Gerstenberger) leave strong impressions."
-- Bernhard Uske, Frankfurter Rundschau
"Erica Brookhyser shone for her cultivated lyrical tone as Abigaille's half-sister Fenena."
-- Johannes Breckner, Darmstädter Echo
"Erica Brookhyser (Fenena) offers touching lyricism." -- Andreas Bomba, Frankfurter Neue Presse
"Of the soloists, Fenena (Erica Brookhyser) and Abigaille (Katrin Gerstenberger) leave strong impressions."
-- Bernhard Uske, Frankfurter Rundschau
Carmen -- Staatstheater Darmstadt
"Erica Brookhyser embodies her own version of the title character perfectly: A beautiful woman, but without any done-up affectation, whose warmth can suddenly turn into an all-consuming blaze, and whose sensitivity, the weak spot of her pursuing lover, quickly mutates into a deadly offensive weapon. Combining an extraordinary stage presence and a powerful vocal interpretion, this mezzo-soprano is exemplary."
-- Benedikt Stegemann, Frankfurter Allgemeine Zeitung
"Erica Brookhyser boasts a beautiful voice and a natural instinct for the stage. Her gypsy, around which the entire piece revolves, is a Lover, not a Demon. Even when she hurls her "Non!" to Don José, the cast-off lover, she remains free of callousness. And when the stalker Don José in the end kills his victim, no one thinks, not even in secret, that it serves her right."
--Christian Knatz, Darmstädter Echo, 26. October, 2010
"Erica Brookhyser is a magnificent Carmen. Her mezzo-soprano has a timbre that casts a spell. She dominated the sold out theater, and her dance with castanets added pizzazz. At the curtain call, Brookhyser garnered vociferous Bravos." -- Manfred Merz, Gießener Allgemeine
"Flawless performance by Erica Brookhyser as Carmen. A female superman, who is thoroughly graceful and savvy on stage." --Bernhard Uske, Frankfurter Rundschau
"Erica Brookhyser dramatic approach to Carmen is enjoyable from the depths of her seamless voice to her coquettishness." --Andreas Bomba, Frankfurter Neue Presse
"Erica Brookhyser embodies her own version of the title character perfectly: A beautiful woman, but without any done-up affectation, whose warmth can suddenly turn into an all-consuming blaze, and whose sensitivity, the weak spot of her pursuing lover, quickly mutates into a deadly offensive weapon. Combining an extraordinary stage presence and a powerful vocal interpretion, this mezzo-soprano is exemplary."
-- Benedikt Stegemann, Frankfurter Allgemeine Zeitung
"Erica Brookhyser boasts a beautiful voice and a natural instinct for the stage. Her gypsy, around which the entire piece revolves, is a Lover, not a Demon. Even when she hurls her "Non!" to Don José, the cast-off lover, she remains free of callousness. And when the stalker Don José in the end kills his victim, no one thinks, not even in secret, that it serves her right."
--Christian Knatz, Darmstädter Echo, 26. October, 2010
"Erica Brookhyser is a magnificent Carmen. Her mezzo-soprano has a timbre that casts a spell. She dominated the sold out theater, and her dance with castanets added pizzazz. At the curtain call, Brookhyser garnered vociferous Bravos." -- Manfred Merz, Gießener Allgemeine
"Flawless performance by Erica Brookhyser as Carmen. A female superman, who is thoroughly graceful and savvy on stage." --Bernhard Uske, Frankfurter Rundschau
"Erica Brookhyser dramatic approach to Carmen is enjoyable from the depths of her seamless voice to her coquettishness." --Andreas Bomba, Frankfurter Neue Presse
Le Nozze di Figaro -- Staatstheater Darmstadt
"Erica Brookhyser in the role of the page Cherubino, enhances the production with distinguished vocalism." --Axel Zibulski, Main-Spitze
"The American singer, Erica Brookhyser, also new in Darmstadt, is a sturdy Cherubino, who can fully act out his love-crazed state, and at the same time knows how to enchantingly sing the masterpiece of an aria: "Voi, che sapete." --Klaus Trapp, Darmstädter Echo
"The page Cherubino, expressively sung by mezzo-soprano Erica Brookhyser, had the audience laughing first when he donned his skirt, and later when he jumped out of the Countess's bedroom window." --Heike Otto, Main Echo
"In this strong second act combination of characters, one must also mention Erica Brookhyser, in the well-cast starring role of Cherubino. In addition to her voice, the singer offered much as an actor." --Matthias Gerhart, Frankfurter Neue Presse
"Erica Brookhyser in the role of the page Cherubino, enhances the production with distinguished vocalism." --Axel Zibulski, Main-Spitze
"The American singer, Erica Brookhyser, also new in Darmstadt, is a sturdy Cherubino, who can fully act out his love-crazed state, and at the same time knows how to enchantingly sing the masterpiece of an aria: "Voi, che sapete." --Klaus Trapp, Darmstädter Echo
"The page Cherubino, expressively sung by mezzo-soprano Erica Brookhyser, had the audience laughing first when he donned his skirt, and later when he jumped out of the Countess's bedroom window." --Heike Otto, Main Echo
"In this strong second act combination of characters, one must also mention Erica Brookhyser, in the well-cast starring role of Cherubino. In addition to her voice, the singer offered much as an actor." --Matthias Gerhart, Frankfurter Neue Presse
RECITAL: Songs by Ravel & Ives -- Festival du Larzac
"The American mezzo demonstrated her great qualities, accuracy, suppleness, ease, and a pleasing timbre."
Simon Corley, ConcertoNet.com, Aug 6, 2010
"The American mezzo demonstrated her great qualities, accuracy, suppleness, ease, and a pleasing timbre."
Simon Corley, ConcertoNet.com, Aug 6, 2010
PLACIDO DOMINGO CONDUCTS OPERA HIGHLIGHTS -- LA Opera
"One was especially impressed by Brookhyser’s smooth, richly caressed phrasing in the Flower Duet from Delibes’ “Lakmé.”
Richard S. Ginell, Los Angeles Times, May 21, 2010
"One was especially impressed by Brookhyser’s smooth, richly caressed phrasing in the Flower Duet from Delibes’ “Lakmé.”
Richard S. Ginell, Los Angeles Times, May 21, 2010
ST. MATTHEW PASSION -- Cincinnati May Festival
"Mezzo Erica Brookhyser had five arias to sing, plus a duet. Her creamy, dark tone and tight vibrato were ideally targeted to inspire deep feeling in her listeners. She and concertmaster Timothy Lees, who wove plaintive solos on his violin, made “Erbarme dich, mein Gott” one of the highlights of the performance."
Mary Ellyn Hutton, Music in Cincinnati, May 16, 2010
"Mezzo-soprano Erica Brookhyser shone for her arresting vocal timbre and expressive warmth."
Janelle Gelfand, Cincinnati Enquirer, May 16, 2010
MASS IN C MINOR (Mozart) -- Cincinnati May Festival
"The standout was mezzo-soprano Brookhyser, who handled the leaps and roulades of the operatic coloratura aria “Laudamus te” with aplomb."
Janelle Gelfand, Cincinnati Enquirer, May 15, 2010
CHAMBER MUSIC RECITAL -- Colburn Chamber Music Society____________
"Erica Brookhyser sang with rapturous bell-like purity that effectively communicated the work's stark melancholy."
J. Anthony McAlister, Note x Note, Apr. 19, 2010
"Erica Brookhyser sang with rapturous bell-like purity that effectively communicated the work's stark melancholy."
J. Anthony McAlister, Note x Note, Apr. 19, 2010
DIE WALKÜRE -- Los Angeles Opera ____ ___
"Mezzo-soprano Erica Brookhyser was a stalwart Waltraute."
Carl Byron, Opera News, Jul., 2009
"Mezzo-soprano Erica Brookhyser was a stalwart Waltraute."
Carl Byron, Opera News, Jul., 2009
MUSIC'S MUSIC (World Prem.) by S. Sametz -- L.A. Master Chorale_______ _
"Brookhyser used her radiant voice to full effect in the opening solo section and kept on from there, making the wistful, plaintive piece her own. This is a vocalist worth keeping an ear on."
Robert D. Thomas, Class Act, Feb 23, 2009
"What must have been the most emotional item was another World Premiere, a setting Megan E. Freeman’s poem “Music’s Music” by very popular composer Steven Sametz and sung by Los Angeles Opera mezzo-soprano Erica Brookhyser with the most gleaming and convincing performance of the evening."
Douglas Neslund, Classicalvoice.org, Feb 22, 2009
MADAMA BUTTERFLY -- Los Angeles Opera ______
"Pinkerton's American wife, Kate, stands wind-swept like the masthead of a ship, a conspicuous contrast to Butterfly, and Erica Brookhyser made Kate a memorable image."
Mark Swed, Los Angeles Times, Oct. 3, 2008
LA CENERENTOLA -- Utah Opera ___ _ _
"Soprano Shannon Kessler and mezzo Erica Brookhyser were hilarious as the abusive stepsisters, Clorinda and Tisbe, from their opening calisthenics to their battle for the faux prince's attention."
Catherine Reese Newton, The Salt Lake City Tribune, Mar. 9, 2008
"Soprano Shannon Kessler and mezzo Erica Brookhyser were hilarious as the abusive stepsisters, Clorinda and Tisbe, from their opening calisthenics to their battle for the faux prince's attention."
Catherine Reese Newton, The Salt Lake City Tribune, Mar. 9, 2008
MESSIAH -- Utah Symphony ____________________________ ____
"Indeed, the second (in order of prominence) standout piece of the evening was her He was despised. Erica brought it to an emotional climax that had me riveted."
Jake Wilcox, FishNet, Nov. 27, 2007
"Indeed, the second (in order of prominence) standout piece of the evening was her He was despised. Erica brought it to an emotional climax that had me riveted."
Jake Wilcox, FishNet, Nov. 27, 2007
LA TRAVIATA -- Central City Opera
"Erica Brookhyser's vivid, rich-voiced Flora promised much."
David Shengold, Opera News, Oct. 2007
"Erica Brookhyser's vivid, rich-voiced Flora promised much."
David Shengold, Opera News, Oct. 2007
MADAMA BUTTERFLY -- Boston Lyric Opera
"A tip-of-the-hat, too, to mezzo-soprano Erica Brookhyser, whose role as Pinkerton's American wife, Kate, although brief, was delivered with clear vocal tones and a stage presence that was noticeable."
Paul Joseph Walkowski, The Epoch Times, Nov. 3, 2006
THE SOUND OF MUSIC -- The Brevard Music Center ___
"In Brevard, the cast was headed by mezzo-soprano Erica Brookhyser, whose portrayal had literally everything - a stunning voice used with the utmost intelligence and skill, superior diction, great acting ability, fluid onstage motion, and looks that are ideal for the role of Maria. She brightened every scene in which she appeared and seemed to inspire everyone around her to superior levels of performance, too."
John W. Lambert, Classical Voice of North Carolina, Jul. 19, 2006
THAÏS -- Boston Lyric Opera ________
"Sarah Asmar and Erica Brookhyser were charm and effervescence as the giddy slave girls Crobyle and Myrtale."
Wayman Chin, Opera News, Jul. 2006
"Sarah Asmar and Erica Brookhyser not only looked well, but sang lovely their “ah ah ah ah ah ah’s” assured and sexy, the lovely “duet” accompanying the vocal pyrotechnics of Joyce Ting’s alluring (and dazzlingly costumed) La Charmeuse."
G. Paul Padillo, OPERA-L, May 8. 2006
CENDRILLON -- New England Conservatory Opera Theater
"The outstanding performances came from Maria Alu and Erica Brookhyser...Brookhyser, singing her second consecutive performance...boasts a full, secure, and attractive mezzo, flexible and at ease with high, soft notes. She sings with exquisite musicality. She also offers a special, radiant stage presence. Dressed for the ball she looked more like Katherine Hepburn than Cate Blanchett did in "The Aviator," which made you wonder why the opera had to last as long as it did: At any moment this take-charge creature could have reared up in all her glory and sent all the others packing."
Richard Dyer, Boston Globe, Mar. 14. 2005
"Erica Brookhyser, in the role of Lucette (Cendrillon)...delivered her role with an affectatious voice that was strong and crisp and full sounding. She not only acted well, but sang to the part and had strong stage presence, making us believe she viewed herself as the inferior of the daughters."
Paul Joseph Walkowski, Opera Online, Mar. 11. 2005
"The originally cast Lucette for the opening was ill so Erica Brookhyser from the Saturday cast took over and won all hearts. A lovely young woman with a beautiful lyric mezzo, she displayed a winning stage presence, ability to sing directly to the audience's emotions and a good, confident technique."
William Fregosi, Opera-L, Mar. 3. 2005
"The outstanding performances came from Maria Alu and Erica Brookhyser...Brookhyser, singing her second consecutive performance...boasts a full, secure, and attractive mezzo, flexible and at ease with high, soft notes. She sings with exquisite musicality. She also offers a special, radiant stage presence. Dressed for the ball she looked more like Katherine Hepburn than Cate Blanchett did in "The Aviator," which made you wonder why the opera had to last as long as it did: At any moment this take-charge creature could have reared up in all her glory and sent all the others packing."
Richard Dyer, Boston Globe, Mar. 14. 2005
"Erica Brookhyser, in the role of Lucette (Cendrillon)...delivered her role with an affectatious voice that was strong and crisp and full sounding. She not only acted well, but sang to the part and had strong stage presence, making us believe she viewed herself as the inferior of the daughters."
Paul Joseph Walkowski, Opera Online, Mar. 11. 2005
"The originally cast Lucette for the opening was ill so Erica Brookhyser from the Saturday cast took over and won all hearts. A lovely young woman with a beautiful lyric mezzo, she displayed a winning stage presence, ability to sing directly to the audience's emotions and a good, confident technique."
William Fregosi, Opera-L, Mar. 3. 2005
