4/3/12 - On WQXR's blog Operavore, Fred Plotkin highlights Despite and Still in his piece about rediscoving Samuel Barber. Read it here!
On 2/17/12 Melissa was interviewed by Joseph Dalton of My Big Gay Ears.
"Welcome to my weird musical life...."
Queeries for Soprano Melissa Fogarty on mybiggayears.com, 2/17/12. Read more!
(Praise for Despite and Still-Melissa Fogarty Sings Samuel Barber[Aureole Records])
"In Despite and Still, you can sense the musicians’ urge to create something definitive, a profound and worthy record of a musical selection that both soloist and accompanist are clearly devoted to... Melissa Fogarty’s voice is evocative throughout, encapsulating the album’s spectrum of human experience from the heavenly to the heartbroken."
--Miri Jassy, La Folia, (1/12)
"Fogarty is a many talented, hard-working and attractive singer who has all the marks of a star in waiting...Intelligence, operatic chops and sensitivity make Fogarty and Peloquin a perfect fit for this serious sequence of Barber songs."
--Rob Barnett, Musicweb International (12/11/11)
"No one else can equal Melissa Fogarty’s joy and carefree abandon. Her lack of self-conscious artifice and her love of Barber’s songs shine throughout this wonderful recital."
--Jason Victor Serinus, San Francisco Classical Voice (11/1/11)
*****[Five Stars] "Fogarty is a vivacious artist, communicative, demonstrative, and fastidiously sensitive to the text...likely to stand as the preferred recording of its type currently available."
--Steven Ritter, Audiophile Audition (11/3/11)
"Soprano Melissa Fogarty has an excellent voice, well-suited to interpret the songs of Samuel Barber. Her instrument possesses both the required flexibility for melismatic writing and a sumptuous legato tone for the creamy lyricism of Barber in balladic mode."
--Christian Carey, Sequenza 21 File Under? (11/10/11)
Melissa was featured in the New Jersey Star-Ledger on November 4, 2011. Ronni Reich caught up wither her about her concert that night at Drew University, where she recorded "Despite and Still," and they talked about the new CD, too.
Click here to read the article by Ronnie Reich.
(Isle of Klezbos, Marriage Equality Mazel-Tov Concert at 92Y Tribeca)
"Fogarty is a formidable presence: She has wide, expressive eyes, and when she’s belting out a particularly impressive passage — some rapid scat-singing, say — she bounces and prances around the stage...Saucy or somber or playful, Fogarty is never quite suave — and in the end that ebullient awkwardness is oddly appealing."
--Eileen Reynolds, The Arty Semite (8/1/11)
(Barber at the Barge, solo concert with Marc Peloquin, piano, at Bargemusic)
" (opening set) pealing sound, intense focus and emotional presence...(Despite & Still) Ms. Fogarty drew on substantial reserves of tenderness, anguish and whimsy...vividly convey[ed] both essence and nuance..."(Hermit Songs.)
--Steve Smith, The New York Times (8/2/10)
"Fogarty sang with focused flair that
(5 star rating)
--Martin Bernheimer, Financial Times (8/3/10)
(The Coronation of Poppea, Opera Omnia)
"Soprano Melissa Fogarty made a fine foil for Poppea, bringing intense emotionality to the role of Octavia."
--Heidi Waleson, The Wall Street Journal (9/2/08)
"Melissa Fogarty gave a strong performance as Ottavia."
--Allan Kozinn, The New York Times (8/22/08)
"...the captivating Melissa Fogarty head[s] the cast."
---The New Yorker Goings On About Town, Russell Platt (8/18/08)
"Contrast was provided by the clear, cool, focused soprano sound of Melissa Fogarty as the deposed Empress Ottavia, who provided some of the best vocalism of the evening."
--Eli Jacobson, Gay City News (9/4/08)
For the New York Times preview article on Opera Omnia's Poppea, click
(Review of performance with Isle of Klezbos - one of my "cross-over" gigs)
"Melissa Fogarty was at the absolute top of her game, cutting loose with a wail that was as sultry as it was clear and pure."
(Reviews of performance of Dice Thrown, New York City Opera VOX program)
"John King's Dice Thrown...was more like a revelation. In a performance by the stunningly accurate soprano Melissa Fogarty, the piece became a dazzling coloratura solo of compelling dramatic urgency...Ms. Fogarty star[ted] creating a character, not just a "part." A musical country you could call Mallarmé Land cohered into being: We could picture its mountains, its cities, its fretting housewives, its squabbling politicians."
--Russell Platt, The New York Observer (5/08)
Most of the 2008 VOX operas featured highly experienced singers such as James Bobick as the lone singer in Soldier Songs, Lauren Flanigan as Lady Macbeth, Melissa Fogarty as the sole singer in Dice Thrown, Beth Griffith as Zarafa, the giraffe, and Emily Pulley as Eleni. These singers in particular delivered notably outstanding performances and were backed up by satisfyingly rich orchestral performances."
--Karren LaLonde Alenier, Scene4 Magazine (6/08)
"Melissa Fogarty sang and acted the role of the capricious and determined Serpina with aplomb. She has a bright, attractive soprano and an ample technique, all of which she applied skillfully to the part."
--R.M. Campbell, Seattle Post-Intelligencer (4/08)
(Blog mention for King Arthur at NYCO)
"young and lovely soprano Melissa Fogarty, a last minute replacement scored a triumph, singing with delectable and highly skillful coloratura and is surely on her way to a successful career."
--James Camner, author of "How to Enjoy Opera" (Simon and Schuster), former reviewer for Fanfare Magazine and Opera News contributor. From his blog, Broadway Bridge & Tunnel Test (3/08)
(Review of performance of David Del Tredici's Dracula)
"Sexier still...the soprano Melissa Fogarty narrated and sang with consummate focus while acting with delirious abandon"
--Steve Smith, The New York Times (3/07)
(Recording Review: Handel: Scorned & Betrayed)
"Fogarty is a singer of quality, clean, accurate, and stylish."
--John W. Barker, American Record Guide (5/06)
"But the real star is soprano Melissa Fogarty, who as Ishmael delivers arias with a marvelous range of color and nuance, perfectly capturing and conveying the victimized boy s array of emotions. Her performance in Part Two, where Ishmael and Hagar desperately face death in the desert, is outstanding, whether in the duets or in her extended recitatives and arias."
--David Vernier, Classics Today (2/04)
(Live performance of Agar e Ismaele in Esiliate)
"Soprano Melissa Fogarty's Ishmael was an appealing young boy with spunk, sung with a clean, well-cored sound."
--Philippa Kiraly, Seattle Post-Intelligencer (10/01)
(In concert with Concert Royal)
"This program featured an astonishing soprano. Melissa Fogarty, also on short notice, prepared and sang two challenging and rewarding cantatas. They were [among] that evening s high points."
--Tom Aldridge, (Indianapolis) NUVO Weekly (7/02)
(Clori, Tirsi e Fileno by G.F. Handel; Teatro Bacchino)
"With a secure and well-supported voice and an imaginative way with a phrase, she also showed agility in her runs, binding them expertly in to the line."
--Michael Zwiebach, San Francisco Classical Voice (1/01)
(Aminta e Fillide by G.F. Handel; Teatro Bacchino; Berkeley Early Music Festival, 6/00)
"Fogarty was a bright, secure Aminta; her pivotal aria Se vago rio was delivered with uncommon sweetness."
--Georgia Rowe, Contra Costa Times
"Soprano Melissa Fogarty dispatched [her] vocal part with crystalline clarity and ease."
--Joshua Kosman, San Francisco Chronicle
"Fogarty's intense dramatic energy and brilliant coloratura conveyed perfectly the ardor of the young shepherd."
--John Prescott, San Francisco Classical Voice
Last update May 10, 2012