Above all Rachel Willis-Sørensen as Hélène, who brilliantly understands how to lend drama to her voice, which is by nature rather delicate. She is already at home in the demanding higher register and with the coloratura.
BR-Klassik
Press:
Rachel Willis-Sorensen […] held her own with a stylish, playful take on Rosalinde’s Czardas from Die Fledermaus. She offered a full, flowing, caramel tone and toyed elegantly with the tempo, playing up a fake Hungarian accent for comic effect. Her winning performance might have gotten a bigger hand from the audience if Luisotti and the orchestra hadn’t buried her for most of it.
New York Classical Review
Rachel Willis-Sørensen has had several outings as the Countess now, and she seems to grow into the role more with each passing attempt. Her latest incarnation was sublime.
New York Classical Review
Rachel Willis-Sørensen gave a winning, earnest portrayal of Freia with her sweetly pealing soprano."
New York Classical Review
"Sørensen — a statuesque blond wearing a bright red gown who had to overcome what is often a liability of being chosen as the first singer in the final round — was equally opulent in her Zarzuela aria, Tres horas antes del dia from Frederico Moreno Torroba’s La Marchenera."
Robert D. Thomas, Class Act
"Rachel Willis-Sorensen makes a striking Eva"
George Hall, The Stage, 12 March 2017
“As Agathe, Rachel Willis-Sorenson revealed a voice of immense potential: creamy, capacious, clear and tender.”
Anna Picard, The Times, 10 June 2016