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Moira Johnson Consulting
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Norine Burgess.

 

What the critics say...

 

 

Norine brings "clarity and poignancy" in Toronto concert with the Talisker Players

"The remarkable Canadian mezzo-soprano Norine Burgess...possesses a bright, steady, focused voice of pleasing timbre, and her sound and delivery were effectively varied to accommodate the three splendid but very different works we heard. Burgess and the Talisker group found both clarity and many dimensions in the 13 love songs in medieval German [of R. Murray Schafer's Minnelieder]." (8 May 2009)


A "vulnerable" Maddalena in Vancouver Opera's Rigeletto

"... Norine Burgess’s Maddalena brings vulnerability to her tarty temptress" (Georgia Straight, 9 March 2009)


"Outstanding" Norine Burgess as Princess Maria

"Mezzos Norine Burgess as Andrei's sister and Larisa Kostyuk as Pierre's wife impress...”(Canoe Sun Media, 13 October 2008)

“Standouts in the cast include ... Norine Burgess as Andrei’s shy sister.” (Now Toronto, 13 October 2008) 


Norine Burgess a ‘seductive Maddelena’ in Calgary

"Norine Burgess seductive and vocally elegant as Maddalena." (Calgary Herald, 11 November 2007)


As Siebel in Vancouver Opera's Faust

“Norine Burgess was dramatically believeable and her voice soared around the Queen Elizabeth Theatre with ease. ” (Opera Canada , May/June 2006)


Reviews of Die Herzogin von Chicago DVD

“A strong cast headed by the attractive Canadian soprano Norine Burgess…tremendous fun!” DVD of the Month (Gramophone, March 2006)

“Miss Lloyd is played by Norine Burgess, a "real", healthy-looking American girl, full of what they used to call in those days, "vim and vigour". She is a masterly actress and dancer as well as an excellent singer, and her German is close to faultless. Indeed, she is so perfect in the role that it is almost impossible to imagine a production without her: she is charismatic, and brings depth and sensitivity to what could be an unsympathetic role. Her enthusiasm seems to light up the stage.” (MusicWeb International, May 2006)

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“As the angel Burgess was a revelation — certainly the best performance by her I've heard. She had the right emotional weight in her voice, was a model of clarity and persuasively illuminated her texts.” (Toronto Star, 27 April 2005)


“Calgary mezzo-soprano Norine Burgess (Nicklausse) gave her finest performance before a home audience. Tall and willowy, she was a credible male counterpart to Hoffmann and a beautiful muse in the framing portions of the work. Vocally, this is the perfect part for her highly attractive lyric mezzo, and she made the most of it.” (Opera Canada, Summer 2004)


“Calgary mezzo Norine Burgess was the complete Nicklausse, giving her finest performance before a home audience. Tall and willowy, she was a credible "male" counterpart to Hoffmann throughout the middle of the opera, a beautiful muse in the framing portions of the work. Vocally, this is the perfect part for her highly attractive lyric mezzo, and she made the most of it, notably in the opening and in the famous barcarolle.” (Calgary Herald, April 26, 2004)


“Ms Burgess has a rather smokey mezzo, which can give off some refulgence.” (New York Sun, March 5, 2004)


“Burgess [gave] an elegant and touching account of the duet La Morte d'Ophélie. Burgess's splendid, all-in dramatic rendition of Sur les lagunes could hardly have been improved.” (Globe and Mail, January 27, 2004)


“Burgess's mellow mezzo positively bloomed in "Le Spectre de la rose." (Toronto Star, January 26, 2004)


“Norine Burgess’ Mother Marie was such a tower of strength that we crumpled when she did.” (The Arizona Republic, February 27, 2002)


“…a lambent-toned Burgess gave the performance of the evening with her whimsical, touching interpretation of Reger’s Funf neue Kinderlieder, Op. 142,  which was intimate in manner, but gloriously full-voiced…” (Globe and Mail, Feb. 25, 2000)


“Mezzo-soprano Burgess also made a strong impression, her beautiful voice a treat for the ear…” (Calgary Herald, Dec. 13, 1999)


“Norine Burgess not only relished the brazenly seductive role of Maddalena but demonstrated marvellous stylistic command of her music” (Westender, October 1999 review of Vancouver Opera’s Rigoletto)


“Canadian mezzo-soprano Norine Burgess, as Maddelena, Sparafucile’s sexy and hip-swivelling sister, came dangerously close to stealing the limelight from Rucker, Zhang and Parrish in the justly famous quartet that begins with “Bella figlia dell’amore” (Vancouver, October 1999)


“Burgess did beautiful work on the da capo arias, liberally adding embellishments in proper Baroque style” (Kitchener-Waterloo Record, April 1999)

 

Last Updated: September 8, 2009
© 2006 Moira Johnson Consulting, All Rights Reserved

 

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