... American opera soprano Michèle Crider was magnetic in quiet passages, where
her voice floated delicately out to the audience!!

Toronto Star | John Terauds | February 19st 2010

... The American soprano Michele Crider is from the beginning with Bravo Calls overwhelmed: In the role of the vengeful Odabella she pulls out all registers of her considerable expertise. And so it is little surprise that the applause for the Hamburg premiere of this masterpiece would not end.

Hamburger Morgenpost

... Michèle Crider as Odabella had intense moments throughout the opera, especially in lyrical and pianissimo passages (...).

NDR Kultur

... Michèle Crider sang the part of the warlike Odabella with an energy that simply had to impress.

DPA

... Michele Crider as Margherita was sensational and her singing in her death scene was very emotional.

Maariv, By Ora Binur

... This opera should have been titled Margherita, Mefistofele and the Choirs because of the personality of Michele Crider as Margherita who in her death scene makes this theatrical opera something into sincere drama.

Haaretz, By Michael Handelsaltz

I will always cherish the exciting singing of Michèle Crider in the final act.
...This was Michèle Crider’s evening with her beautiful singing, emotional power, foolproof vocal control and very good acting!

Habamah, By Zvin Goren

The title role was played by Michèle Crider, with her radiant, pure soprano and intense expression. Her final scene, movingly dramatic without slipping into melodrama, was the performance’s highlights!

Jerusalem Post

...Michèle Crider displayed her creamy tone, which is as effective in the lower soprano range as at the top!

New York Post, By Clive Barnes

... Michèle Crider was a vocally poised Amelia. Her big scene at the gallows in Act II was secure and completely in pitch, including the difficult high C just before the entrance of her husband!

The New York Sun, By Fred Kirshnit

http://www.welt.de

Literary opera gala by the Hamburg Symphony Orchestra on the 30th anniversary of the death of prima donna Maria Callas

The stage is hallowed ground. When Maria Callas transformed herself into Medea or Norma, she is said to have felt a direct physical bond with the mythical protagonists of Euripedes, linking them with her through the boards she trod as a singing tragedienne. Was her direct link to these archetypes part of the secret of this divine Greek singer? At all events, nobody but she has ever been so close to the dramatic truth of the music. "I lived the music", the prima donna assoluta averred in a master class at the Juillard School in New York in the early 1970s, long after she had ended her career. From her recorded classes - which also provided the material for the playwright Terence McNally’s successful play “Master Class” - as well as from excerpts from the diva’s starring roles, the Hamburg Symphony Orchestra put together a literary opera gala that was performed in the Laeisz Hall on Wednesday.

A worthwhile endeavour, for there really is something hallowed about this stage, where La Callas appeared in 1959 and 1962 in concerts which soon became legendary. The homage on the 30th anniversary of the diva’s death reawakened memories of the days when she sought to “express truths with body and soul”. Nicole Heesters declaimed Callas’s words, Michèle Crider sang her repertoire, Thomas Rösner conducted the orchestra.
The presentation could and did not try to recreate the magic of Maria Callas; it sought rather to convey an impression of the incomparability and irretrievability of surely the most fascinating singer of the 20th century. Michèle Crider, who not only has many roles in common with Maria Callas but even shares the initials of her name, delivered a worthy interpretation at the memorial gala, precisely because she avoided any attempt to imitate the inimitable.

With her majestic appearance and the fine lustre of her head-voice, the black American soprano then sang the entry arias of one of her best roles: Leonore in Il Trovatore. She combined mobility and aplomb in a sensually phrased bel-canto legato. The world-class Aida also displayed the utmost vocal imagination with her Elisabeth from “Don Carlos”; and then, fully warmed up, with "Col sorriso d'innocenza" from Bellini’s "Il pirata", which she crowned with stupendous piani, golden threads of tone and dramatic peak notes. Between the highlights of song, Nicole Heesters with her characteristic austerity made the words of an avowed romanticist ring out. They echoed the devotion and love for music which finally turned La Callas, in her borderline oneness of life and art, into a candle burning at both ends.

She consumed herself in her striving for perfection, for a utopia which only she could attain with equal perfection. "Vissi d'arte" from Puccini’s "Tosca" simply had to be the encore: "I lived for art, I lived for love", sang La Crider, as wonderfully as if she sensed the energy of the great Maria, flowing up through her from the boards into her voice.

Peter Krause
Welt online, 30. November 2007
Translatated by Johannes Purer, -“Puretrans”

www.der-neue-merker.at/kritiken.php

Berlin: „TOSCA“ mit Stargästen 16.12.06

Die Floria Tosca, die an diesem Abend die Bühne der Deutschen Oper Berlin beherrscht, würde Giacomo Puccini vermutlich genau so begeistern wie das Publikum im voll besetzten Haus. Der US-Amerikanerin MICHÈLE CRIDER ist diese Rolle wie auf den Leib geschrieben. Ein Vulkan mit tatsächlich schwarzen Augen, in dem unter der charmanten Oberfläche die Gefühle brodeln. Ihr wunderbar reiner, ausdrucksfähiger Sopran, der auch in dramatischsten Szenen nie zur Schärfe neigt, bringt alle ihre Stimmungsschwankungen auf perfekte Weise zum Ausdruck. Man glaubt ihr beides: die aus tiefstem Herzen Liebende und die zerstörerisch Eifersüchtige. Viel Zwischenapplaus, „standing ovations“ am Ende dieser beglückenden Stunden!

Ursula Wiegand

"Crider has performed in some of the world's top opera houses, including the Royal opera House in London's Covent Garden, the Teatro alla Scala in Milano and the Metropolitan Opera House in NYC. It's easy to understand why - her voice reaches out warmly to the audience and holds it with graceful passion. She's mesmerizing, such as when she sings of her conflicted loyalties to Egypt and Ethiopia in the first act's "Ritorno vicitor!" Crider is one of the truly remarkable talents of our time."

from:
http://tennessean.com

FYI
Published: Saturday, 10/14/06

"Celebrating Marian Anderson"

...Crider's handling of the first act aria "Ritorna vincitor!" had the requisite vocal opulence, dramatic excitement and much more.She offers us much more than thrilling high notes and sumptuous chest tones. She is also a fine actress who places her voice at the service of the dramatic situation. This is what distinguishes her from others who essay the role of the Ethiopian princess.

The New York Amsterdam News, Raoul Abdul, October 2005

A Revival That Can Hold

Michèle Crider sings Aida the world over, and it’s not hard to see why. She has the range, temperament, and vocal heft for the part. She sings with great style and assurance. This is an impressive Aida, musically satisfying and vocally commanding.

New York Sun, By Georg Loomis
Published: Monday, October 17, 2005

In the Land of Verdi, Where Egyptians Are Italian

Michèle Crider has the title role. The effectiveness of her soprano voice may have more to do with presence than actual size. Ms. Crider has a lovely ear, and the slight sense of strain we hear when she sings quietly has actually an attractive vulnerability about it. Ultimately it is less her sound than her heart that brings Ms. Crider to her listeners: a high level of heat not easy to turn away from.

The New York Times, By BERNARD HOLLAND
Published: October 17, 2005

Michèle Crider, as Tosca, filled us with enthusiasm through her wonderful sonorous voice with its intensity and flexibility in the phrasing.

http://www.klassik-in-berlin.de 26. September 2005

Michele Crider in the leading role gave us a great moment in singing. The Ethiopian slave is a fix part of her repertoire. 24 others in the past season preceded this Aida - including the State Opera House in Berlin, the Dresden Semper Opera House and the Los Angeles Opera House. She sang the difficult part well. The soprano singer shimmered wonderfully when singing the high notes and lent a certain splendour to the occasion. She sang everything effortlessly with such a full and strong intensity. The audience showed their appreciation of these qualities by giving her a great ovation.

Das Opernglas, by S. Martens, July 2005

"The REAL AIDA"
Michèle Crider is the AIDA, new to the company and she is a splendid young singer, possessed of a ravishing top that floats across the Nile like stars in Verdi's woodwinds and a real heartbreak as the opera's final wisp of melody merges with the darkness.

From Laweekly, by Alan Rich, January 28 - February 3, 2005

Michèle Crider in the eponymous role - innocent and pure in a fautlessly-intoned "Numi pieta" and unflichingly defiant in the dramatic Amneris-AIDA duet.

From Notable Notes, by Ba Truman C. Wang, January 31, 2005

... Michèle Crider in heavenly voice as AIDA ...Aida's beautiful "Ritorna vincitor" presents the opera's total concept in one impeccably rendered solo ...

From Hollywood, The Reporter, by Madeleine Shaner, Thursday, January 27, 2005

..., debuting soprano Michèle Crider won hearts in the title role with top notes of crystalline clarity.

From Daily Variety, by Alan Rich, Tuesday, January 25, 2005

The AIDA, Michèle Crider! Her voice was clear and she sang with great beauty of tone, especially in the difficult Act III aria, 'O patria mia', which seemed to hold no terrors for her.

From INTERNATIONAL NEWS, Opera Japonica / Reports,
Maria Nockin's Letter from America, 23 January 2005

... the wonderful Michele Crider in the leading role. Her AIDA is a charismatic female person who exudes strength in spite of her obvious hopelessness. Even the interpretation of the end duet is deeply moving but never kitschy.

From Frank Bayer

Link: www.klassik.com

Pet Halmers AIDA production at the State Opera House

Michele Crider simply left a breathtaking impression of AIDA behind. Even with her looks and aura Crider already played the role of the sensitive, inwardly torn slave perfectly but she was magical with her virtuoso high confident soprano singing. She showed us that she has a completely inexhaustible voice. Under the whispered soft notes, you could already hear the volcano waiting to burst forth. Therefore we can recommend her Berlin debut as Tosca on March 23rd 05 (German Opera House).

From Heiko Schon, "Classic in Berlin", 13 September 2004

Link: Klassik in Berlin

Defy rain storms: Aida performance  was succeeded stormily.
celebrated in the Gerry Weber stadium in front of 5000 visitors

The main role of the evening "Michèle Crider" who was not only outstanding in her vokal apilities but also theatrically.

From Andreas Großpietsch, Haller Kreisblatt, 19. July 2004

Aida with Verona flair in the stadium

Outstanding the international renowned soprano Michèle Crider. She pulled out all the stops of her art under raw stadium circumstances.

Neue Westfälische, 19. July 2004

The scent of camels
Absolutely splendid: "Aida" in Oberammergau

Michele Crider as Aida is quite unassuming in facial expressions, gestures and appearance. The American knows that it is mostly the quiet, unobtrusive notes that are the most dramatically convincing ? a flirtatious look, that bowing of the head, the weak arms that just hang down. Her voice: the best of the evening, especially the tender notes which were like a puff of wind blowing through the rows.

Rafael Sala, TZ München, 12.07.2004

A taste of Verona
Verdi's master piece warms the heart

The singing and playing of Aida by the American Michele Crider was the highlight of this event. She succeeded in putting her individual touch to the part of the nobel slave due to her versatile voice and her high soprano notes which are so steady and full of volume and also to her acting qualities.

Garmischer Tagblatt, 12. July 2004

Suffering still lives in the greatest joy.

Likewise at the May festival, was Wiesbaden's "Madam Butterfly" with Michele Crider revalued to a gala performance.
The soprano singer, Michele Crider, who can be heard in opera houses all over the world, was ideal for the role of "Butterfly". The singer brought colour and sparkle to the sparsely decorated stage and drove some of the audience to tears with her intensity. Of course, she impressed us first and foremost with her singing. She brought the tremendous strengths which lie under the "Butterfly's" surface to the fore through her voice which easily reaches the high notes and is without frills and through her penetrating dynamism.

From Claudia Arthen, Frankfurter Neue Presse, 25.05.2004

Jubilation for the singer Michele Crider
Michele Crider, who bewitches us all with her voice, gave us a cause to celebrate in the title role of the opera gala "Madama Butterfly".

"The finest spiritualised tones"
Her role as Luisa Miller in Verdi's opera of the same name more than ten years ago in the state theatre in Wiesbaden was unforgetable. Due to her excellent singing in this role it was predicted that she would have a rapid rise in her career. Now Michele Crider returned to the theatre in Wiesbaden for a gala performance of Puccini's "Madam Butterfly" as an international singer. Among the many galas taking place in this May festival, the above can truly be counted as the highlights.
Noone in the house, which was full, could escape being fascinated by her economical voice which remains completely sure at all levels. There were the finest spiritualised tones lingering in the air. Again and again the youthful, dramatical soprano flourished with her stunning, voluminous melodies and she gave even the highest notes a dramatic contour.
A memorable brilliant performance.

From Richard Hixnicke, Wiesbadener Tagblatt, 25.05.2004

Convincing voice culture
May festival: Opera gala festival "Madam Butterfly" in the large house.

The American soprano, Michele Crider, played the title role which was received with jubilation. ...... Michele Crider joined together a stunning piano part with the necessary dramatical intensity. Sonorous by the low notes, absolutely sure by the high notes. In the scenes Michele Crider gave us a decidely believable butterfly. In any case the kick that she gave the dodgy matchmaker, Goro, in the second act must have really hurt.

From Kurier-reporter Axel Zibuiski, Wiesbadener Kurier, 25.05.04

Triumph in the march through

The performance of both, singers and orchestra turned the evening into a top class outing -especially Michele Crider as AIDA. Not only was her voice technique impressive but also her soaring high notes, her soft Piani and the expressions in her singing.

Christiana Mondolofo, KURIER (13.04.04)

The American soprano singer, Michele Crider, gave "THE" performance of her New York career - a most impressive and moving Amelia.

David Shengold, OPERA INTERNATIONAL (France) 2004

Far more sensitive was the Amelia of soprano Michele Crider. Her gleaming tone was matched by her attention to Verdiâ´s dynamic markings, and she sang with a true Verdian line. She added proper nuances to the text and only turned competitively loud when necessary; both of her arias were models of good, Italian opera vocalism...using little of the shading, portamento and legato Verdi asks for and Crider delivered.

Robert Levine, Classics Today.com

WHEN MICHELE CRIDER SINGS YOU SEEM TO KNOW WHAT BELLINI MENT

One good reason to attend the performance of Il Pirata is to hear Michèle Crider in the role of Imogene. With her way of singing, you seem to hear what Bellini ment: a vocal virtuosity, intonation showing new aspects of emotion time and time again, a psycological portrait of the character painted exclusively by the voice.
Because she actually 'becomes' the character, she is outstanding and overclasses the other singers. Just her interpretation of the mad scene at the end of the second act, makes it worth to go.

(DE MORGEN)


By using her impressive voice of wich especially the hight is striking to the fullest, Michèle Crider knows how to bring to life the character of Imogene, torn between two lovers. She successfully and convincingly impersonates the psychological development of the demented personage.

(DE STANDAARD)


The part of Imogene, a role that has put Callas and Caballé in the spotlight in the past, is being played by Michèle Crider. More than once this mindblowing American Soprano amazes by getting 100% into the character with costumes normally only used for a real 'mise en scène'

(LA LIBRE BELGIQUE)

The american Soprano, Michéle Crider, had a great personal success in the performances of the Flemish Opera in Antwerp/Gent in the concert hall "De Bijloke". Two years ago she sang "NORMA" here. The singer portrayed the fateful figure with touching sensitivity. Her dark resounding soprano voice amazed us yet again with its considerable volume which makes it just right for dramatic roles. Also the ability and flexibility to employ the middle range and to move us with her sensitive piani.

Opernglas, M. Fiedler

The loudest and longest applause was for the splendid soloists' quartet and on the other hand the unbelievable soprano singer Michele Crider who has no problems being heard when singing against a choir of 100 people and the orchestra. It is incredible how Crider can sing a note in a wonderful soft tones so clearly over a full five tact and over the voices of the other soloists and the whole orchestra. In this and many other moments her voice sounded really ethereal. However, in "Libera Me" Crider produces really deep, dark and dramatical vibrations just as convincingly. At the same time she never plays to the gallery when singing together with the other soloists.

From sperrsitz, 8 February 2004

A passionate requiem becomes a gala performance.

Stars from La Scala in Milan sang in the original performance in 1874 and solists from La Scala also sang in the concert house.
... and Michéle Crider, a soprano singer who wonderfully blended together lyrical warmth with real passion, made the performance into a gala performance.

Ruhr News, Julia Gaß (2. February 2004)

Intoxicating sounds full of precision.
Verdi´s requiem inspired the audience!

Michéle Crider, who is still remembered by opera goers as Leonore in Trovatore in 1989, sang her part with a warm and radiant soprano vioce. She is a soprano who is capable of an incredible volume even in the lower range and expecially with "libera me" made people sit up and take notice.

West German Allgemeine Newspaper, Martina Lode-Gerke (2. February 2004)

Giuseppe Verdi´s Requiem: A realistic picture of the "Day of Judgement"

The American soprano, Michéle Crider, stood radiantly at the head of the solo quartet. Her clear, shimmering, confident voice, dynamic and wide-reaching, easily climbed up to the difficult top notes and gave colour and touching expression to the songs. "Libera me" was filled with immense sensitivity and beseeching tones...

Westfälische Rundschau, ME (2. February 2004)

A full house for Michele Crider

Thalwil: choir concert for the New Year in the church

The American soprano singer with the powerful voice literally rose to top
form during the traditional spiritual "Honour, honour". The public's
enthusiasm knew no bounds when she sang the last item on the programme
"Battle Hymn of the Republic" (Glory, glory, hallelujah ? a battle song from
the time of the American Civil War from 1861 to 1865!)

Thalwiler report, Ambros Eberle, (17. January 2004)

A musical jewel!

Standing ovations in the concert hall in Zurich for the soloist Michele
Crider! The world famous soprano singer, Michele Crider, celebrated a
further success together with about 160 singers to a full house in the
concert hall of Zurich.

Thalwiler report, Rosmarie Krause, (8. January 2004)

Honour at last for a forgotten opera from Verdi.

Michele Crider proved herself to be a universal soprano with sonorous deep tones in this incrdible role. Her elegiac romance in Act 11 with the English horn solo turned out to be so impressively beautiful that the singer and the conductor shook hands afterwards.


Heilbronner Stimme, (23. September 2004)

Scenes of jubilation at the season's finale ? inspired by Verdi's "Attila" at the castle festival.

From the very beginning the American soprano singer, Michele Crider, ruled the waves as the murderous avenger Odabella with her crystal clear mezzo soprano voice and polished performance. Indeed there was no need for any other female role in this piece.

Ludwigsburger Kreiszeitung, (23. September 2004)

Spectacular finale to the season of 2003 ? Strong as well as gentle

The American soprano singer, Michele Crider, was seen as well as heard in this one and only female role of Odabella. The strength of her voice and her wonderful timbre outshone even the full ensemble and could be heard from all sides.


Bietigheimer Zeitung, (23. September 2003)

Michele Crider managed perfectly to capture and enchant the audience as
Santuzza in "Cavalleria Rusticana" with her expressive and brilliant voice
and her incredible performance.

"TS Oggi", 20th March, 2003

Michele Crider is praised again and again as the best Aida of our times by the international press. Whoever recently heard and experienced her in this role at the "Festive Opera Evening" at the Mannheim National Theatre won't hestitate for one second to agree with this choir of praise. What a voice! A dramatic soprano with an enormous dynamic range without shrillness of any kind, even when outshining larger choir scenes but incomparable in solid piano and from enchanting melodiousness.

"Morgen", Waltraud Brunst - February 25th, 2003

As the eponymous political prisoner and royal slave Aida, African American diva Michele Crider ably interprets one of the most famous and vocally lustrous roles in all of opera. Crider possesses a flexible, ample soprano, easily soaring over Verdi´s full choral and orchestral forces in the opera´s most dramatic passages, yet capable of tenderness and judicious restraint in more intimate moments.

The Harlem Times, Nat Charles - November 23rd, 2002

The most interesting and convincing performance was that of the American
soprano singer, Michele Crider, in the role of Aida. The artiste succeeded
in fulfilling the expectations and imagination of the audience in an
excellent way with her outstanding pure voice.

La Repubblica - Il Lavoro, from 21. February 2002

The audience really enjoyed this performance but they especially enjoyed
Michele Crider in the role of Aida.

Corriere Mercantile from 20. February 2002