Reviews

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The Amenaide was Christine Lyons, displaying a generously scaled lyric soprano, her rapid vibrato adding lushness to the tone.
— Opera News
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A nuanced and richly textured performance, Christine Lyons as Giulietta was spellbinding, highlighting her range and interpretation, singing the aria with rosy, agile coloratura. In short, Lyons is exquisite.
— Cape Charles Mirror
 
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The Rifatto alternate Amenaide, newcomer Christine Lyons, was a revelation…. Lyons’ quick vibrato and complex timbre brought greater emotional immediacy to Amenaide’s conflict between duty and desire…. [she] handled the florid passages with musicianship and flair.
— Gay City News
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Remarkable
— Bachtrack
 
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Christine Lyons used her captivating soprano and sang this familiar song “Ständchen” by Franz Schubert with freshness, sentiment and a sprinkling of vocal stardust…. Ms. Lyons has a rare power of expression plus a lustrous soprano that should carry her far.
— Brooklyn Discovery
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We have been waiting patiently for someone to get us to appreciate Carlyle Floyd’s Susanna and Ms. Lyons crisp English diction and psychological insight helped us to turn the corner. In “Ain’t it a Pretty Night”, she expressed all the longing and excitement of leaving home, and all the nostalgia for what might be left behind. We wondered if Ms. Lyons had experienced those feelings when she left Atlanta because her performance oozed conviction.

To truly appreciate Ms. Lyons’ gifts, one needs to hear her Italian. We well remember her performance as Adina.... But last night we heard an enhancement of vibrato in her glorious performance of “Io son l’umile ancella” from Cilea’s Adriana Lecouvreur. The Italianate vowels and phrasing were perfect.
— Voce di Meche
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This was one of the most emotionally moving concerts I’ve ever attended.... Christine Lyons added a sparkling soprano to Handel’s ‘Let the Bright Seraphim’ and sang a beautifully ornamented ‘Last Rose of Summer.’
— Broad Street Review
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Poignant
— Broadway World
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Lyons doesn’t have to be asked twice to make like opera’s greatest temptress
— Atlanta Journal Constitution
Soprano Christine Lyons exuded such a radiant presence.
— Patrick D. McCoy.com

Newspaper & Magazine Features

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Especially moving
— Pittsburgh Post-Gazette
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As Adina.... her lustrous soprano won us over from the start.
— Voce di Meche
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The three Nymphs, Jeni Houser, soprano, as Najade, Rebecca Ringle, mezzo, as Dryade and Christine Lyons, soprano, as Echo were superb individually and magnificent as a trio.
— Berkshire Record
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Naiade (Jeni Houser), Echo (Christine Lyons) and Dryade (Rebecca Ringle)... express empathy and harmonize and counterpoint and lushly enhance the dramatic elements of the show.
”Each is lovely: lyric soprano, dramatic soprano and mezzo-soprano; each becomes ubiquitous, another instrument in the ensemble, but able to voice thought rather than just express it with tone. In fact, the vocalizing in this production is truly extraordinary with every word sung clear as a bell.
— The Berkshire Edge
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...the nymph trio of soprano Jeni Houser (playing Naiad), mezzo Rebecca Ringle (Dryade), and soprano Christine Lyons (Echo) provides what amounts to sonic nectar as their voices merge in sympathy with the long-suffering Ariadne.
— La Scene Musicale
 
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There is exquisite ensemble singing for the three nymphs who attend Ariadne. Jeni Houser/Najade, Rebecca Ringle/Dryade and Christine Lyons/Echo were gorgeous in movement, raiment, gesture and song.....
”If you don’t go and see these three ladies exalt... more fool you.
— The Boston Musical Intelligencer
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Three attending Nymphs (Jeni Houser, Rebecca Ringle and Christine Lyons) lament her fate, voices... blending together with the beauty of their ethereal essence.
— The Berkshire Eagle

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