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"Amy Shoremount-Obra reigned supreme as the titular queen in plush majesty.” --The Boston Globe 11/2/19

“Amy Shoremount-Obra sang the title role, and one could not imagine a more vocally regal Queen Mary. Her instrument is basically a large, dramatic soprano, with a rich, dark timbre. It plunges into an exciting chest voice in the lower register. With its wide range, it easily soared up to several sizable, high notes which proved electrifying. Despite the size of her voice, Shoremount-Obra possessed sufficient flexibility to negotiate all the elaborate coloratura passages. She also acted the role with style, and requisite dignity.” --Edge Media Network 11/4/19

"..this use of brilliant coloratura established Mary, through her musical line, as the dominant character on the stage, which Shoremount-Obra sings with exceptional brilliance.” --The Boston Musical Intelligencer 11/2/19

"Amy Shoremount-Obra had to wait an entire act to enter as the title character, but once she appeared onstage she commanded the proceedings with a strong, authoritative tone that was as technically precise as it was brimming with emotion.” --Schmopera 11/2/19

“(Queen Mary - Amy Shoremount-Obra) gives vent to her doubts and conflicting emotions in a powerful yet supple voice, playing with light and shadow and discreetly embellishing the repeat of her cabaletta.” --Bachtrack 11/7/19

“Brilliant" "Shoremount-Obra connected her voice to style and character.  Noble, fair and titanic….her musicianship revealed the soul of the woman.” --Berkshire Fine Arts 11/6/19

"Ms. Shoremount-Obra’s instrument exhibits many of the qualities associated with a voce di prima donna...Her soprano is an ample, amber colored instrument, with a hint of exotic eastern European glamour, which her mistress wields steadily up the staff into the fortissimo with remarkable steadiness and unobstructed purity of tone.  These qualities, along with a fine moulding of her testing aria di sortita “In quel volto accolse il cielo,” earned her enough audience validation to confidently command the stage for the rest of the affair.” --New Outpost 11/3/19

“The part was sung by Amy Shoremount-Obra, the winner of a number of prizes, mostly in Wagnerian divisions, and a singer at the Met of that prima donna’s stepping stone, the First Lady in Magic Flute. Her voice is indeed of Wagnerian size and weight, but also of exceptional sweetness, on the order of Mariella Devia or Alessandra Marc. The top does not soar dizzily high but is beautifully supported throughout her range. She <also> possesses an actual trill.”

-- Parterre Box 11/5/19

Sandi Klein Show- Interview 1/2/17
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Opera News- SoundBite May 2016
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Appearance on Hawaii News Now Sunrise
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"Maravillosa voz"/ Marvelous 11/1/18

"La imponente voz de la soprano invitada resonó en el escenario con arias de ópera de “Il Trovatore” y “Nabucco” de Giuseppe Verdi, la ópera alemana “Tannhäuser” de Richard Wagner y “Turandot” del italiano Giacomo Puccini." / " The imposing voice of the invited soprano resonated on stage with opera arias from "Il Trovatore" and "Nabucco" by Giuseppe Verdi,  the German opera "Tannhäuser" by Richard Wagner and "Turandot" by Italian Giacomo Puccini." 11/1/18




"Amy Shoremount-Obra’s rich, buttery soprano soared in the quartets without her screeching or even seeming to make an effort to cut through Beethoven’s thick textures. She carried her melodic lines with a fine sense of their arching reach." 5/26/17




"But what really stood out last night was the Leonore of Amy
Shoremount-Obra. True, the venue was small, but she was a rock of tonal security and effortless- seeming power, her absolutely lovely soprano voice [which reminded me of Rysanek  (including her easy high notes) on the Fricsay Fidelio recording] was ideal for the role. She never seemed to strain, but had all the clarion notes in the upper register this tough role demands and she actually interpolated higher ones!!! in the dramatic confrontation with Pizarro that begins "Er sterbe!" All in all, hers was one of the most satisfying Leonores I've experienced and if she can do this in a larger venue, she's got a big future ahead of her. A Met National Council Regional winner, Shoremount-Obra's already made her Met debut (2014 as the First Lady in Zauberflöte) and I hope opera managers give her opportunities." --James Camner, Opera-L 1/23/16



"The Three Ladies — Amy Shoremount-Obra, Renée Tatum and Margaret Lattimore, were a vocally vibrant and well-balanced trio."
 --New York Times 10/8/14


"Amy Shoremount-Obra (in her debut), Renée Tatum, and Margaret Lattimore made a formidable trio as the Queen’s handmaidens"
--New York Classical Review 10/7/14



"Amy Shoremount–Obra sang a really outstanding Anna, accurate and with exciting thrust, including the best vengeance aria I’ve heard since Carol Vaness’s heyday." --Opera News 11/8/15


"Amy Shoremount-Obra brought fiery depth to the sometimes-thankless role of Donna Anna. The only other time I've felt any sympathy towards Anna was when I saw Anna Netrebko sing her in Covent Garden. Shoremount-Obra was equally convincing and sang with sensitivity yet full-throated power, her voice shaking the rafters of the small building. It's a tremendous experience hearing a voice that could fill a theater of 3000 so up close and personal." --Huffington Post 11/25/15


"Soprano Amy Shoremount-Obra as Donna Anna was the vocal highlight of the evening. No surprise since she already had her Met debut (last year in Die Zauberflote). Her sound was crystal clear, soaring and electrifying, particularly in Or sai chi l’onore, when Donna Anna demands vengeance for her sullied honor. " --Allegri Con Fuoco


"Donna Anna, powerfully sung by the stunning soprano Amy Shoremount-Obra, manipulates her fiancé Don Ottavio, stringing him along, clearly never intending to marry him. Her bright and well-focused instrument was well employed in the service of the character." --vocedimeche 11/7/15



"As the attractive widow, American soprano Amy Shoremount-Obra, coming to Boston after having performed Mozart’s Queen of the Night at the New York City Opera, made a very strong impression, singing with beauty of tone (up to a nailed high C-sharp), intelligence, and considerable charm. She looked quite glamorous in her bathtub scene and then in a black corset...." 7/1/14


"Amy Shoremount-Obra sang gorgeously as his befuddled lover, the Marchesa del Poggio” --The Boston Globe 6/13/14


"“Shoremount-Obra was incredible, another vocal highlight of the evening. She performed with a tone steeped in longevity, endurance, and agility, saving the air from any unnecessary sweetness; this is a voice of true substance.” -The Boston Music Intelligencer 6/12/14


“Also notable are baritone Michael Chioldi as Belfiore and soprano Amy Shoremount-Obra as his lover, the Marchesa del Poggio……..Shoremount-Obra is especially compelling, with a powerful presence and striking facial expressions of emotional extremes.”  6/30/14


"Amy Shoremount-Obra was a delightful Marchesa. Though her voice has a mezzo coloration, she soars effortlessly to stratospheric, high notes, and treated Boston audiences to several in this production. And she is a natural comedienne." 6/12/14


"It's soprano Amy Shoremount-Obra's instrument that's actually flecked with more dusky complexity (although she can soar into coloratura territory with ease).  Shoremount-Obra is also, fortunately, an accomplished actress, and so both touches and tickles us with her portrait of the complicated Marchesa." 6/13/14


"Shoremount-Obra was regal as the Marchesa, with a full rich voice worthy of her aristocratic pedigree. But she was also playful – especially in the boastful staging of her bath and dressing scene in Act I, an absolute treat to hear and behold." 6/20/14


“As the Marchesa, soprano Amy Shoremount-Obra was sassy and outraged by her shabby treatment from her so-called lover, Belfiore, passing as the King of Poland. Vocally, she was terrific in the first act aria “Ah! Non m’hanno ingannata” (Ah! They have not deceived me), which ends with the spirited cavatina, “Se dee cader la vedova”….which has been often sung by bel canto specialists like Montserrat Caballe. But she hit her peak in the second act when in an extended aria she expressed moods that ranged from coyness to anger with vocal brilliance.” 6/16/14


"Chioldi and Shoremount-Obra, both in their Boston debuts, are wonderful together." 6/12/14


"Dramatically, "Amy Shoremount-Obra" is his (Michael Chioldi's) peer.... riveting in her second act confrontation with Belfiore, in which her challenging gaze froze both her hapless lover and the audience. Vocally, she thrilled with laser-like top notes and a secure coloratura.....She was beautifully plangent... in the attendant cavatinas"  6/12/14



“Soprano Amy Shoremount-Obra as Fiordiligi delivers a compelling performance, from her opening duet, "Ah guarda sorella," with Dorabella to the major aria "Come scoglio." – Baltimore Sun 3/19/15


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