Recent Reviews
Die Tote Stadt -- Odyssey Opera
"Erica Brookhyser had excellence to spare in the smaller role of Brigitta, Paul’s housekeeper."
-- Jeremy Eichler, Boston Globe
"In the small, but important, role of Brigitta, Erica Brookhyser brought warmth of tone and a sobering presence."
-- Jonathan Blumhofer, The Arts Fuse
"Erica Brookyhyser, as Paul’s faithful old housekeeper, wore housekeeper brown, but this did not disguise the glamour of her smooth, sizable mezzo." -- John Yohalem, Parterre Box
"Mezzo-soprano Erica Brookhyser sang it feelingly in a clear, bell-toned voice, phrasing naturally yet also dealing easily with sudden leaps in the melody."
-- David Wright, Boston Classical Review
"Erica Brookhyser had excellence to spare in the smaller role of Brigitta, Paul’s housekeeper."
-- Jeremy Eichler, Boston Globe
"In the small, but important, role of Brigitta, Erica Brookhyser brought warmth of tone and a sobering presence."
-- Jonathan Blumhofer, The Arts Fuse
"Erica Brookyhyser, as Paul’s faithful old housekeeper, wore housekeeper brown, but this did not disguise the glamour of her smooth, sizable mezzo." -- John Yohalem, Parterre Box
"Mezzo-soprano Erica Brookhyser sang it feelingly in a clear, bell-toned voice, phrasing naturally yet also dealing easily with sudden leaps in the melody."
-- David Wright, Boston Classical Review
El Niño -- Spoleto Festival USA
"Mezzo-soprano Erica Brookhyser was a revelation, a powerful presence with control, depth and extreme dynamic and expressive range." ----The Post and Courier, Yiorgos Vassilandonakis
"Bible characters were given voice by excellent soloists--Caitin Lynch, soprano; Erica Brookhyser, mezzo-soprano; and Mark Walters, baritone." ----New York Times, James Oestreich
"Caitlin Lynch, Erica Brookhyser and Mark Walters are outstanding as the principal vocal soloists." ----Financial Times, George Loomis
"The soloists were uniformly excellent. Soprano Caitlin Lynch and mezzo Erica Brookhyser both own marvelous instruments, and both covered huge ranges of vocal and emotional expression." ----Lindsay Koob, Charleston City Paper
"The six excellent soloists interacted with one another and with the puppets in the most natural way. Mezzo Erica Brookhyser plumbed the darker sides of maternity." ----Wall Street Journal, Heidi Waleson
"Mezzo-soprano Erica Brookhyser was a revelation, a powerful presence with control, depth and extreme dynamic and expressive range." ----The Post and Courier, Yiorgos Vassilandonakis
"Bible characters were given voice by excellent soloists--Caitin Lynch, soprano; Erica Brookhyser, mezzo-soprano; and Mark Walters, baritone." ----New York Times, James Oestreich
"Caitlin Lynch, Erica Brookhyser and Mark Walters are outstanding as the principal vocal soloists." ----Financial Times, George Loomis
"The soloists were uniformly excellent. Soprano Caitlin Lynch and mezzo Erica Brookhyser both own marvelous instruments, and both covered huge ranges of vocal and emotional expression." ----Lindsay Koob, Charleston City Paper
"The six excellent soloists interacted with one another and with the puppets in the most natural way. Mezzo Erica Brookhyser plumbed the darker sides of maternity." ----Wall Street Journal, Heidi Waleson
Falstaff -- Los Angeles Opera
"The merry wives, who provide the glue that keeps the plot together, were sung by a knowing and exceptionally well-controlled Carmen Giannattasio as Alice Ford and a delightfully goofy Erica Brookhyser as Meg Page." -- Simon Williams, Opera News
"The merry wives, who provide the glue that keeps the plot together, were sung by a knowing and exceptionally well-controlled Carmen Giannattasio as Alice Ford and a delightfully goofy Erica Brookhyser as Meg Page." -- Simon Williams, Opera News
Tristan und Isolde -- Staatstheater Darmstadt
"The singer of the evening was undoubtedly Erica Brookhyser as Brangäne. She used her powerful mezzo with optimal text understandability and her silky voice enthralled the audience with focus and soft shadings. Her stage presence was also flawless." ----Manfred Langer, Der Opernfreund
"How remarkable, that in the Darmstadt Ensemble Erica Brookhyser has developed into a glowing, opulent, richly singing Brangäne." ----Axel Zibulski, Op-Online.de
"Isolde's confidente Brangäne finds the right tone for this piece. Erica Brookhyser's supple, gently grounded mezzo blends wonderfully with the voice of Nicolay [Isolde]. It was clear that she also reaped a long-lasting ovation at the end." ----Thomas Wolff, Darmstädter Echo
"The singer of the evening was undoubtedly Erica Brookhyser as Brangäne. She used her powerful mezzo with optimal text understandability and her silky voice enthralled the audience with focus and soft shadings. Her stage presence was also flawless." ----Manfred Langer, Der Opernfreund
"How remarkable, that in the Darmstadt Ensemble Erica Brookhyser has developed into a glowing, opulent, richly singing Brangäne." ----Axel Zibulski, Op-Online.de
"Isolde's confidente Brangäne finds the right tone for this piece. Erica Brookhyser's supple, gently grounded mezzo blends wonderfully with the voice of Nicolay [Isolde]. It was clear that she also reaped a long-lasting ovation at the end." ----Thomas Wolff, Darmstädter Echo
Wagner Concert: Wesendonck-Lieder -- Staatstheater Darmstadt
"At the center of the second half were five songs on texts by Mathilde Wesendonck, a fitting challenge for the opalescent vocal splendor of Erica Brookhyser. The way the soprano begins the first song ("Der Engel") and connects pianissimo tenderness to stunning surges, how she enshrouds the meltingly-beautiful music with a fine black border ("Im Treibhaus", "Schmerzen"), and conjures up a touch of Tristan in "Träume"--the combination of the most beautiful sound and vocal weightlessness makes for a sort of healing musical therapy." ----Albrecht Schmidt, Darmstädter Echo
"At the center of the second half were five songs on texts by Mathilde Wesendonck, a fitting challenge for the opalescent vocal splendor of Erica Brookhyser. The way the soprano begins the first song ("Der Engel") and connects pianissimo tenderness to stunning surges, how she enshrouds the meltingly-beautiful music with a fine black border ("Im Treibhaus", "Schmerzen"), and conjures up a touch of Tristan in "Träume"--the combination of the most beautiful sound and vocal weightlessness makes for a sort of healing musical therapy." ----Albrecht Schmidt, Darmstädter Echo
Les Troyens -- Staatstheater Darmstadt
"In the very demanding second part, Erica Brookhyser gave an enthralling theatrical and musical performance of Dido. With a bright-timbred mezzo and powerful gleaming high notes, she colored her role with a variety emotional shadings. Highlights of the evening included the 3rd Act Dido/Anna duet, the 4th Act Dido/Aeneas duet and Dido's final scenes, after which, one left the theater feeling completely fulfilled." ----Manfred Langer, Der Opernfreund
"Erica Brookhyser is once again brilliant. In a superb musical and dramatic interpretation, she embodies Dido's gentleness as well as her revengefulness." ----Thomas Wolff, Darmstädter Echo
"Erica Brookhyser sings marvellously. The duet between the entwined Aeneas and Dido is a glorious antiphonal idyll. And in the final scenes, Smith and Brookhyser ignite a blazing fire of conflicting passions." ----Bernhard Uske, Frankfurter Runschau
"In this opera there are two women who make their mark. The wise, cautionary, but ignored Cassandra in Troy and the loving, forsaken and suicide-destined Dido of Carthage. They succeed in starkly differentiating themselves: Katrin Gerstenberger with her fervent despair as Cassandra and Erica Brookhyser with her beguiling lyricism as Dido." ----Axel Zibulski, Frankfurter Neue Presse
"In the very demanding second part, Erica Brookhyser gave an enthralling theatrical and musical performance of Dido. With a bright-timbred mezzo and powerful gleaming high notes, she colored her role with a variety emotional shadings. Highlights of the evening included the 3rd Act Dido/Anna duet, the 4th Act Dido/Aeneas duet and Dido's final scenes, after which, one left the theater feeling completely fulfilled." ----Manfred Langer, Der Opernfreund
"Erica Brookhyser is once again brilliant. In a superb musical and dramatic interpretation, she embodies Dido's gentleness as well as her revengefulness." ----Thomas Wolff, Darmstädter Echo
"Erica Brookhyser sings marvellously. The duet between the entwined Aeneas and Dido is a glorious antiphonal idyll. And in the final scenes, Smith and Brookhyser ignite a blazing fire of conflicting passions." ----Bernhard Uske, Frankfurter Runschau
"In this opera there are two women who make their mark. The wise, cautionary, but ignored Cassandra in Troy and the loving, forsaken and suicide-destined Dido of Carthage. They succeed in starkly differentiating themselves: Katrin Gerstenberger with her fervent despair as Cassandra and Erica Brookhyser with her beguiling lyricism as Dido." ----Axel Zibulski, Frankfurter Neue Presse
Benefit Concert: Lieder der Sehnsucht -- Staatstheater Darmstadt
"With a warm, dark timbre and sonorous volume in her powerful renditions of Brahms and Schumann, Erica Brookhyser showed herself to be an outstanding art song interpreter. The atmospheric songs of Henri Duparc and César Cui seemed to have been virtually written into the being of this singer. The singer gave shape to the poetry of these works using a rich spectrum of velvety, earthy and fiery tones." ----Silvia Adler, Darmstädter Echo
"With a warm, dark timbre and sonorous volume in her powerful renditions of Brahms and Schumann, Erica Brookhyser showed herself to be an outstanding art song interpreter. The atmospheric songs of Henri Duparc and César Cui seemed to have been virtually written into the being of this singer. The singer gave shape to the poetry of these works using a rich spectrum of velvety, earthy and fiery tones." ----Silvia Adler, Darmstädter Echo
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
Tales of Hoffmann -- Staatstheater Darmstadt
"The Muse has a lot to say and sing in this production. And that is fortunate for Erica Brookhyser is the strongest singer of the evening. She enhances her portrayal with a large, pleasing, round voice, clear diction and a natural sense of comedy." -- Johannes Breckner, Darmstädter Echo Zeitung
"Marvelous in both voice and physicality was the Friend-Muse "Niklas" by Erica Brookhyser." -- Bernhard Uske, Frankfurter Rundschau
"The sympathies of the public definitely belonged to Erica Brookhyser, who portrayed an elegant Niklas with boyish, cheeky mezzo, as well as a selfishly loving Muse, who uses all means possible to win over her poet and at the right moment also pulls out her vocal claws."
-- Steffan Meder, Main-Echo Zeitung
"The main character, however, turns out to be surprisingly Niklas (appearing as the Muse in the Prologue and Epilogue), Hoffmann's companion. This is due to this version [...] and on the flexible, natural and expressive singing of Erica Brookhyser. The audience thanked her with the strongest ovation." -- Andreas Bomba, Frankfurter Neue Presse
"The Muse has a lot to say and sing in this production. And that is fortunate for Erica Brookhyser is the strongest singer of the evening. She enhances her portrayal with a large, pleasing, round voice, clear diction and a natural sense of comedy." -- Johannes Breckner, Darmstädter Echo Zeitung
"Marvelous in both voice and physicality was the Friend-Muse "Niklas" by Erica Brookhyser." -- Bernhard Uske, Frankfurter Rundschau
"The sympathies of the public definitely belonged to Erica Brookhyser, who portrayed an elegant Niklas with boyish, cheeky mezzo, as well as a selfishly loving Muse, who uses all means possible to win over her poet and at the right moment also pulls out her vocal claws."
-- Steffan Meder, Main-Echo Zeitung
"The main character, however, turns out to be surprisingly Niklas (appearing as the Muse in the Prologue and Epilogue), Hoffmann's companion. This is due to this version [...] and on the flexible, natural and expressive singing of Erica Brookhyser. The audience thanked her with the strongest ovation." -- Andreas Bomba, Frankfurter Neue Presse
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
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
