“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
“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
“…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.”
Opera Now | Gramophone
“[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
“Soprano Rachel Willis-Sørensen ’s Elizabeth of Valois is extraordinary for the quality of the projection and the power of her voice, especially in the upper register. Her interpretation of “Tu che le vanità” was thrilling , for which she deserved the longest and warmest applause in the open scene.”
OperaMundus
“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.”
ConcertoNet
“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.”