“[Rachel] ha una voce dal timbro gradevole, è corretta come attrice e il suo volume è di grande impatto. Il suo ingresso con “Tacea la notte placida” era molto ben fraseggiato, le altre scene erano ben risolte e il suo “D'amor sull'ali rosee” ha sortito un grande effetto. La sua voce è grande ma non fuori controllo e riesce a gestire anche le sottigliezze e i pianissimi.”

Ape Musicale

“American soprano Rachel Willis-Sørensen was the most impressive member of an overall exemplary cast…I find it Herculean for a singer to ably perform the role in both French and Italian versions. In addition to immense talent, Willis‑Sørensen boasts an impressive memory indeed.”

“From her first appearance, Willis Sørensen perfectly conveyed Elisabetta’s introverted character…The role can be overshadowed if the soprano doesn’t have the necessary charisma, and there are very few that can convey the character’s complexity…This patrician character can make Elisabetta seem cold, but Willis‑Sørensen managed to masterfully convey the character’s nobility as well as humanity.”

“In her Act II aria, she effectively conveyed her humiliation by Philip IV in “Non pianger, mia compagna,” which was beautifully phrased. Her final Act IV aria, “Tu che le vanità,” was the vocal highpoint of the evening... I maintain the same high opinion I had of her in the French Don Carlos in Chicago: Rachel Willis‑Sørensen is a revelation. Her rich spinto voice is ideally‑suited for the role. Hers is a beautiful voice with natural trills, and easily recognizable within seconds. Her diction here was as impeccable as it was in French in Don Carlos. Whether it is Elisabetta or Elisabeth, the role requires poise and charisma. Willis‑Sørensen has loads of both.”

ConcertoNet