“Willis-Sørensen es una gran cantante… Poseedora de un instrumento privilegiado, ancho y oscuro abajo, refulgente y estuchado arriba, y de una técnica sólida…”
Opera World
“Willis-Sørensen es una gran cantante… Poseedora de un instrumento privilegiado, ancho y oscuro abajo, refulgente y estuchado arriba, y de una técnica sólida…”
Opera World
“… attractive legato and rich tone”
Bachtrack
“...she delivered an incredible performance…And Willis-Sørensen saved her softest and most impactful singing for her final “Prima che d’altri vivere,” her voice floating gloriously, the high A flat allowed to soar into a beautiful portamento an octave down for “io volli tua morir.” Her voice grew softer in the final instances with a sublime “Addio” capping off a powerful performance from the soprano.”
Operawire
“It’s a creamy voice with effortless legato and more than decent flexibility…her smooth tone unfurled without effort and the high notes emerged seamlessly out of the vocal line.”
Parterre box
“Rachel Willis-Sorenson, who the day before had joined Jamie Barton and Michael Fabiano in a rousing Met matinee of TROVATORE, today gave us the immortal "Casta viva" from Bellini's NORMA. Although this bel canto jewel really needs an orchestra-and-chorus setting, Ms. Willis-Soremson and Mr. Wagorn were so persuasive that such concerns became irrelevant. With her impressive breath control, the soprano commanded the long phrases, introducing subtle nuances along the way. She concluded the aria with a gorgeous cadenza and then spun out an incredible inverted trill before sustaining the final note.”
Oberon
“L’Antonia de l’Américaine Rachel Willis-Sørensen, qu’on entend pour la première fois à l’Opéra de Paris , est au contraire une voix pulpeuse, aux courbes splendides, au souffle long, aux phrasés soutenus, une véritable héroïne romantique qui confère à son personnage une véritable noblesse tragique.”
Opera Online
“Antonia, sous les traits de la soprano Rachel Willis-Sorensen, qu’on entendait chanter pour la première fois dans les murs de l'Opéra de Paris, dispense un timbre solidement charnu, ultra précis dans l’articulation, et ce jusque dans les aigus les plus redoutables.”
Causeur