Reviews

“Soprano Laura McCauley delivered engaging, beautifully sung take on Berta” – Elaine Schmidt Milwaukee Journal Sentinel

“Finally, the original opera’s most nearly tragic character, Fiordiligi (Laura McCauley), explores what happens when our youthful confidence in our imminent success (1984) founders on life’s shoals, shipwrecking our ambitions and leaving us adrift, lonely, and lost (2004)…No, Rourke’s Fiordiligi doesn’t get to sing that wrenching Mozart aria about the disconnect between her newly inflamed passion for a lover and her longstanding commitment to a fiancé. But so what? McCauley embodies (and sings) that disconnect, in a form that lets both opera aficionados and newbies feel her pain.“- Mike Fischer for World Premiere Wisconsin

“As the love-struck college girl Fiordiligi, Laura McCauley looked the part, with her high ponytail, jean skirt and bold striped blouse. But more important, her glorious soprano filled the auditorium as she sang about love, uncertainty, and betrayal.”– Gwendolyn Rice

““I am woman, hear me roar” is sung well with trills by Laura McCauley , but it sure will shock Mozart purists in the house. “ – Dominique Paul Noth  for Urban Milwaukee

“From Fiordiligi’s (Laura McCauley) beautiful and empowering solo, repeating “I am woman. Hear me roar,” to exquisitely balanced ensemble number at the end of part one.”– BRIANNA SCHUBERT for Milwaukee Magazine

“Laura McCauley brought down the house with her aptly manic, explosive presentation of “Non, monsieur mon mari” from Poulenc’s ribald Les mamelles de Tirésias. She was aided in her vocal extravagance with dialogue sung by her fleet accompanist Michael Sherman. They should take this show on the road! But we can hear her in next month’s La Calisto if that does not work out.”- Ken Herman for the San Diego Story

“in “Lallarallara” from Donizetti’s L’elisir d’amore, and the bright, heroic edge of his strong tenor matched perfectly Laura McCauley’s gleaming soprano as the fickle Adina.” “Laura McCauley in a droll but vocally rich rendition of Spamalot‘s “The Song that Goes Like This.” Both opera and musical theater need to be able to make fun of their hallowed—or creaky—conventions, and this song always hits that nail right on the head.” -Ken Herman for the San Diego Story

“As Semele, Laura McCauley excels: her acting is suggestive and nuanced; her voice is thrilling, especially in arias like ‘Endless pleasure, endless love’.”-Ithaca Journal

“Semele is sung by a soprano and she has to sing a lot of “coloratura,”…We needed to cast someone who was able to do that and we did with Laura McCauley. We saw a lot of sopranos who had fantastic voices but, as we call it, their voice couldn’t ‘move’ the way it has to in order to build this very fast, virtuosic work.”– R.B. Schlather for the Ithaca Voice

Electrocute Me With Color: Semele at Ithaca College