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The Barber of Seville, Lyric Opera of Chicago, 2008
Opera News, May 2008
"Lauren Curnow's unusual comedic flair tends to pigeon-hole her in roles that provide little opportunity for appreciating what is really quite a fine voice. Berta at least afforded her a proper aria and she made a delightful thing of it."
-Mark Thomas Ketterson
Seen and Heard International:Musicweb International's Worldwide Concert and Opera Reviews, February, 2008
"Lauren Curnow added depth to the role of Berta, whose solo aria Il Vecchiotto was memorable for its engaging presentation. Curnow lamented the foolishness she was witnessing without ridiculing it, a distinction that occurs as a result of phrasing that plays to the nuances of the text."
-James L. Zychowicz
Chicago Sun-Times, February 18, 2008
"...Lauren Curnow gives a near-perfect turn in Berta the maid's comic aria."
-Andrew Patner
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The Barber of Seville, Lyric Opera of Chicago, 2008
Opera News, May 2008
"Lauren Curnow's unusual comedic flair tends to pigeon-hole her in roles that provide little opportunity for appreciating what is really quite a fine voice. Berta at least afforded her a proper aria and she made a delightful thing of it."
-Mark Thomas Ketterson
Seen and Heard International:Musicweb International's Worldwide Concert and Opera Reviews, February, 2008
"Lauren Curnow added depth to the role of Berta, whose solo aria Il Vecchiotto was memorable for its engaging presentation. Curnow lamented the foolishness she was witnessing without ridiculing it, a distinction that occurs as a result of phrasing that plays to the nuances of the text."
-James L. Zychowicz
Chicago Sun-Times, February 18, 2008
"...Lauren Curnow gives a near-perfect turn in Berta the maid's comic aria."
-Andrew Patner
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Hansel und Gretel, Opera Company of Philadelphia, 2007
The Philadelphia Inquirer, November 16, 2007
"Maureen McKay (Gretel) and Lauren Curnow (Hansel) were both in possession of strong, youthful voices. More impressive, they blended their sounds beautifully."
-Peter Dobrin
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La Voix Humaine, Wexford Opera Festival, Ireland, 2007
Irish Times, June 5, 2007
"American soprano Lauren Curnow fits the bill. The requisite youth and elegance are always discernable beneath her disheveled, panic-stricken surface...she comfortably and passionately scales Poulenc's jagged, piercing lines, all the while sustaining her solitary and constantly shifting character with unbreakable concentration and credibility."
- Michael Dungan
Sunday Tribune, Ireland, August 12. 2007
"Lauren Curnow (Poulenc) gave an engaging and very moving portrayal of her desperate jilted character."
-Karen Dervan |
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Die Fledermaus, Lyric Opera of Chicago
Opera News, March, 2007
"Lauren Curnow's Ida brimmed with comic detail and was clearly heard ringing delightfully away in the ensembles - of how many Ida's can that be said?"
- Mark Thomas Ketterson
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Die Zauberflöte, Lyric Opera of Chicago
Questia.com/World's Largest Online Library
"Other standouts in the cast include ...Franz-Josef Selig as Sarastro, Lauren Curnow as Papagena and Dennis Peterson as Monostatos."
-Bill Gowen, Daily Herald Classic Music Critic
Opera Japonica/Reports, January, 2006
"Kevin Langan was a robust Speaker and Lauren Curnow a charming Papagena."
-Maria Nockin
Chicago Tribune, December 12, 2005
"His (Jonathan Lemalu) final duet with Lauren Curnow's delectable Papagena was one of the evening's comic highlights, as their dream of marital bliss came true in a flood of little Papagenos and Papagenas..."
-John von Rhein
Opera News, March, 2006
"Lauren Curnow was an adorable Papagena, displaying a wickedly intelligent comedic sense in her handling of the old-crone."
-Mark Thomas Ketterson |
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La Cenerentola, Lyric Opera of Chicago
Opera News, December 2005
"Lauren Curnow and Meredith Arwady were hilarious in physical comedy as the stepsisters, Curnow's Clorinda gleaming at the top of the ensembles..."
-Mark Thomas Ketterson
The Beacon News Online, SuburbanChicagoNews.com, October 27, 2005
"Without the two great singers to take the parts of the evil stepsisters, the humor level on stage would have dried up. Lauren Curnow as Clorinda and Meredith Arwady as Tisbe keep not only the laughs coming but also contributed to the great singing onstage."
Chicago Maroon, Online Addition, November 11, 2005,
"In addition to being fantastic singers, Curnow and Arwady were also wonderful actors, perfectly conveying the pettishness, ludicrousness, and ditzy ambition that lies at the heart of the stepsisters' roles."
-Manasi Vydyanath
Chicago Tribune, October 7th, 2005
"This production makes the ugly stepsisters as ridiculous as possible, and both soprano Lauren Curnow (Clorinda) and contralto Meredith Arwady (Tisbe) threw themselves into their routines with relish..."
-John von Rhein
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Rising Stars Concert, Lyric Opera Young Artists
Chicago Sun-Times, 2005
“In the Act II duet from Strauss’ “Der Rosenkavalier,” Cabell’s lustrous tone was a lovely contrast to the brighter, more silvery soprano of Lauren Curnow.”
-Wynne Delacoma |
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The Cunning Little Vixen, Chicago Lyric Opera
Opera News, February 2005
"The Fox was Lauren Curnow, an enchanting actress with a sweetly expressive face and reams of shimmering tone, who captured the innocently boyish animal to perfection."
-Mark Thomas Ketterson
Chicago Sun-Times
"Curnow was outstanding. Protesting that she was "not a Fox," she wooed the skittish Vixen with sympathetic respect as well as ardor...Curnow used her agile soprano with easy authority."
-Wynne Delacoma
Chicago Tribune, November 18th, 2004
“Curnow’s rich, steady soprano blended well with her’s (Dina
Kuznetsova) in the love scene, where the Vixen’s foxy suitor gives her a dead rabbit in lieu of an engagement ring.”
-John von Rhein
Daily Herald, November 19th, 2004, Palatine, IL.
“The latter is a ‘trousers role’ played with perfect charm by soprano Lauren Curnow.”
-Bill Gowen
Classical 96.3 FM, Toronto Classical Music, December 17th, 2004
“Soprano Lauren Curnow shows a very pretty voice as the amorous Fox who woos and wins the Vixen.”
-Paula Citron
Hyde Park Herald, December 8th, 2004
“Lauren Curnow does a wonderful job as the Fox, she’s earnest and amusing.”
-M.L. Rantala
Daily Southtown Theater Critic, November 26th, 2004
“Lauren Curnow turns in a delicious soprano delivery…Curnow was also adorable as she wooed the Vixen by telling her, “I’m not a Fox.”
-Betty Mohr |
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Lucia di Lammermoor, Chicago Lyric Opera
Chicago Sun-Times, January, 2004
“Lauren Curnow’s Alisa was sympathetic and discreet as Lucia’s companion.”
-Wynne Delacoma |
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Le Nozze di Figaro, Wolftrap Opera
The Washington Times, August, 2001
“The lesser roles have no second stringers in this production. Perhaps best of all was Lauren Curnow as the scheming Marcellina. A delight in the opera company’s Gilbert and Sullivan concert with The National Symphony Orchestra in July, Miss Curnow outdoes herself her in her broadly comic, bigger-than-life portrayal of a character that usually stands somewhat menacingly in the shadows. Her rubbery facial expressions (shades of Carol Burnett) hide a surprisingly creamy and expressive instrument. Her entrances and antics are a sensation…”
-T.L. Ponick |
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Vanessa, Curtis Opera Theater, Philadelphia
Opera News, 2001
“As Erika, Curnow sang affectively. She phrased her show-stopping aria “Must the Winter Come So Soon?,” thoughtfully and conveyed as well the growing anguish of the idealistic young girl who refuses to bear a child to a man who cannot love her.”
-Robert Baxter
The Philadelphia Inquirer, 2001
“Lauren Curnow who takes the part (Erika), had the knack of being a presence even when not singing—but especially when she was expressing a range of emotion in the opera’s arias and ensembles.”
-Daniel Webster
Philadelphia Weekly, 2001
“Lauren Curnow as Erika sang with intense characterization.”
-Mark H. Beers |
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November 21, 2008:
Messiah
Mezzo Soloist
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