“Willis-Sorenson, in her LA debut, excels in the role of Desdemona, an effortless soprano who can communicate darkness and desperation rather than bright eyed innocence, even at the top of her register.”
The LA Beat
“Willis-Sorenson, in her LA debut, excels in the role of Desdemona, an effortless soprano who can communicate darkness and desperation rather than bright eyed innocence, even at the top of her register.”
The LA Beat
"Rachel Willis-Sørensen ist eine lyrisch aufblühende Elisabeth."
Tagesspiegel
“The concert-going public's appetite for Richard Strauss's Four Last Songs is infinite and Rachel Willis-Sorensen is the latest contender...”
The Daily Mail
“En este álbum luce, tanto en las canciones como en la parte operística, su hermoso y amplio instrumento de carácter lírico y una rica paleta de colores, así como un fraseo elegante y efusivo, especialmente en una hermosa interpretación de “Im Abendrot”... en la gran escena final de Capriccio Willis-Sorensen retrata a una Condesa tan aristocrática como pasional, en una línea interpretativa que remite, por ejemplo, a Renée Fleming.”
Ópera Actual
“Make room on your CD shelves or your hard drive, Richard Strauss lovers. There’s a new contender for “Best Recording of Four Last Songs.”... Willis-Sørensen and Nelsons’s climactic passages are everything Strauss might have wanted… those with open minds and hearts will certainly embrace the beauty on this new album.”
SF Classical Voice
“Rachel Willis-Sørensen apporte la confirmation d'un talent vocal hors norme… Certes, l'émission ample et charnue, l'homogénéité des registres, la générosité du coloris exercent une indéniable séduction.”
Diapason
“Rachel Willis-Sørensen confirms her extraordinary vocal talent… Certainly, the ample and fleshy emission, the homogeneity of the registers, the generosity of the colouring exert an undeniable seduction.”
“Le disque met en valeur un instrument glorieux, à l'évidence fait pour Richard Strauss. Dès les premières mesures de Frühling, s'imposent un flux souverain, du grave à l'aigu, et un timbre lumineux, pulpeux. La voix est plutôt lyrique, mais capable d'une grande expansion, sans effort et sans jamais perdre sa ductilité, pour planer au-dessus de la masse orchestrale… Les passages mélismatiques, nombreux dans les Vier Letzte Lieder, permettent à Rachel Willis- Sørensen de déployer des courbes particulièrement sensuelles, avec un aigu toujours rond.”
Opéra Magazine
“The disc highlights a glorious instrument, obviously made for Richard Strauss. From the very first bars of Frühling, a sovereign flow, from low to high, and a luminous, pulpy timbre imposes itself. The voice is rather lyrical, but capable of great expansion, effortlessly and without ever losing its flexibility, to soar above the orchestral mass… The melismatic passages, which are numerous in the Vier Letzte Lieder, allow Rachel Willis-Sørensen to display particularly sensual curves, with an always round high register.”