“The American soprano Rachel Willis-Sørensen was rich-toned and assured in negotiating the taxing range, vocally and emotionally, of Leonora, in love with the troubadour-rebel of the title, Manrico.”
The Guardian
“The American soprano Rachel Willis-Sørensen was rich-toned and assured in negotiating the taxing range, vocally and emotionally, of Leonora, in love with the troubadour-rebel of the title, Manrico.”
The Guardian
“But it is Rachel Willis-Sørensen’s Leonora that steals the show: a gorgeous sound with a beautiful timbre, her voice is one that is not to be trifled with. She masters all her numbers perfectly, leaving her with resounding applause after the conclusion.”
Broadway World
“Likewise, Rachel Willis-Sørensen has a rich, ample soprano well suited to the lovely role of Leonora, which she sang with taste and control.”
The Guardian
“Last seen as a fine Donna Anna in Don Giovanni, Willis-Sørensen has returned with vocal power and authority enhanced. The role suits her well at this point in her career, a Leonora of shining, bright radiance, lyrical but also agile enough where required…”
Financial Times
“Leonora was a strong Rachel Willis-Sørensen…her voice is full of the emotion and showing a new vulnerability to her voice during the convent scene towards the end of act 1.”
Gramophone
“Willis-Sørensen sang with radiant fervour and her delivery of “D'amor sull'ali rosee” had intensity to spare. There was magic in the air whenever she and Fabiano held sway together, so between Rehlis and the two lovers the Covent Garden stage caught fire.”
Bachtrack
“His Leonora, Rachel Willis‑Sørensen, also holds the stage well and seems as involved as the production allows. Her soprano is of the right cut for the role. It is rich of tone, voluminous, and has surprisingly nimble coloratura for such a large instrument. The “Miserere” displays what a well‑knit voice it is, with a solid lower range down to a resonant D flat two octaves lower.”
ConcertoNet