“The most compelling performances of the evening came from mezzo-soprano Nikola Printz (who uses they/them pronouns and recently starred in Georges Bizet’s Carmen at both Opera San Jose and Festival Opera). With a richly colored and flexible voice, complemented by a powerfully expressive physicality, Printz brought sorrow and passion to Samuel Coleridge-Taylor’s setting of Christina Rossetti’s “Oh, Roses for the Flush of Youth” and to an inspired performance of “Smile O voluptuous cool-breathed earth,” Walt Whitman’s poetry set by contemporary composer Stacy Garrop. Printz’s standout song was Schubert’s “Viola” — an intense drama full of emotional pivots, which ended with Printz on their knees, mourning a lost, abandoned flower.”
“The most compelling performances of the evening came from mezzo-soprano Nikola Printz (who uses they/them pronouns and recently starred in Georges Bizet’s Carmen at both Opera San Jose and Festival Opera). With a richly colored and flexible voice, complemented by a powerfully expressive physicality, Printz brought sorrow and passion to Samuel Coleridge-Taylor’s setting of Christina Rossetti’s “Oh, Roses for the Flush of Youth” and to an inspired performance of “Smile O voluptuous cool-breathed earth,” Walt Whitman’s poetry set by contemporary composer Stacy Garrop. Printz’s standout song was Schubert’s “Viola” — an intense drama full of emotional pivots, which ended with Printz on their knees, mourning a lost, abandoned flower.”
“The most compelling performances of the evening came from mezzo-soprano Nikola Printz (who uses they/them pronouns and recently starred in Georges Bizet’s Carmen at both Opera San Jose and Festival Opera). With a richly colored and flexible voice, complemented by a powerfully expressive physicality, Printz brought sorrow and passion to Samuel Coleridge-Taylor’s setting of Christina Rossetti’s “Oh, Roses for the Flush of Youth” and to an inspired performance of “Smile O voluptuous cool-breathed earth,” Walt Whitman’s poetry set by contemporary composer Stacy Garrop. Printz’s standout song was Schubert’s “Viola” — an intense drama full of emotional pivots, which ended with Printz on their knees, mourning a lost, abandoned flower.”
“The most compelling performances of the evening came from mezzo-soprano Nikola Printz (who uses they/them pronouns and recently starred in Georges Bizet’s Carmen at both Opera San Jose and Festival Opera). With a richly colored and flexible voice, complemented by a powerfully expressive physicality, Printz brought sorrow and passion to Samuel Coleridge-Taylor’s setting of Christina Rossetti’s “Oh, Roses for the Flush of Youth” and to an inspired performance of “Smile O voluptuous cool-breathed earth,” Walt Whitman’s poetry set by contemporary composer Stacy Garrop. Printz’s standout song was Schubert’s “Viola” — an intense drama full of emotional pivots, which ended with Printz on their knees, mourning a lost, abandoned flower.”
“The most compelling performances of the evening came from mezzo-soprano Nikola Printz (who uses they/them pronouns and recently starred in Georges Bizet’s Carmen at both Opera San Jose and Festival Opera). With a richly colored and flexible voice, complemented by a powerfully expressive physicality, Printz brought sorrow and passion to Samuel Coleridge-Taylor’s setting of Christina Rossetti’s “Oh, Roses for the Flush of Youth” and to an inspired performance of “Smile O voluptuous cool-breathed earth,” Walt Whitman’s poetry set by contemporary composer Stacy Garrop. Printz’s standout song was Schubert’s “Viola” — an intense drama full of emotional pivots, which ended with Printz on their knees, mourning a lost, abandoned flower.”
—NICHOLAS JONES | San Francisco Classical Voice
—NICHOLAS JONES | SF Classical Voice
—NICHOLAS JONES | San Francisco Classical Voice
—NICHOLAS JONES | San Francisco Classical Voice
—NICHOLAS JONES | San Francisco Classical Voice
