Bel Canto & French

Marie in The Daughter of the Regiment – Fort Worth Opera

“Dorothy Danner’s staging of Donizetti’s Daughter of the Regiment conducted by Christopher Larkin, allowed local favorite Ava Pine, a singing actress with superb legato and high notes, to prance and frolic with the boys of the twenty-first regiment […] Pine — a gamine with terrific coloratura — had the vocal and dramatic chops to play Marie as both tomboy and youthful, love-struck maiden.”
– Opera News, Willard Spiegelman

“Her lovely voice moved easily through the part’s acrobatic passages as well as the more seductive lyric ones, and her sense of the stage made the most of the possibilities for comedy in the role.”
– Fort Worth Star Telegram, Olin Chism

“Soprano Ava Pine continues to rule the Bass Hall stage, this time in the role of Marie […] Her vocal prowess is matched only by her charm and grace on the stage as she moves from Army brat-tomboy to a gentlewoman-in-waiting (mostly). Utterly believable, Pine draws the listener in from the very beginning, commanding attention and receiving it in spade.”
– Theater Jones, John Norine Jr.

“The sheer beauty and flexibility of Pine’s voice has been evident from her first professional appearances in the area, and it only takes a few measures to recognize her remarkable and insightful musicianship as well. Her range as an actress becomes more evident in each role we see her take on, as exemplified in Saturday’s performance, in which she played Marie as boundlessly energetic and tomboyish, leaping about the stage and tugging at the restraints of civilization.”
– Front Row/D Magazine, Wayne Lee Gay

“As the orphan girl Marie, TCU alum Ava Pine was a vision of energy, enthusiasm, and skill — her coloratura work was as dazzling as a butterfly mid-flight, and when time came for her to bring the house down, she effortlessly obliged, sometimes while practically standing on her head. (She often looked like Lucille Ball out there, throwing her body all over the place for the sake of a few laughs.)”
– Fort Worth Weekly, Anthony Mariani

Juliette in Roméo et Juliette – Opera Colorado

Headline: Opera Colorado’s “Romeo and Juliet” is a showcase for Ava Pine
“Opening its scaled-back 30th season, Opera Colorado’s presentation of Charles Gounod’s “Romeo and Juliet” isn’t exactly a hit — but it’s a worthy effort, thanks in large part to soprano Ava Pine ‘s dazzling and believable rendition of a naïve and sweetly vulnerable Juliet.
“Saturday’s opening of the five-act production … shone the spotlight on Pine’s versatility as both a singer and an actress, her subtle, soaring voice seamlessly integrated with her affecting portrayal of a passionately love-struck maiden.
“…Pine was compelling in scene after scene, complemented by a superb chorus … and the supporting cast.”
-Denver Post, Sabine Kortals – February 2013

“The loudest cheering was for Ava Pine, the soprano star who made her Opera Colorado debut last year in The Marriage of Figaro. She is the ideal Juliet, who is only 14 in Shakespeare’s play—young, adorable and high-spirited. Pine’s voice has strength and clarity and never falters. Her coloratura waltz in Act I “Je veux vivre dans ce rêve”, one of the more familiar arias, shows youthful teenage joy. By contrast, her intense soliloquy in Act IV when she debates taking the potion is fraught with passion and drama.”
-The Examiner, Claudia Carbone – February 2013 uk slots online

“With all of these implications, soprano Ava Pine gives what must be one of the company’s most heroic performances. After her flawless, quintessential portrayal of Susanna in Mozart’s “Marriage of Figaro” last season, Pine impresses even more as a youthful, strong-willed Juliet.
“… Pine was glorious in both [arias]. Her solid pitch, fine projection and smooth French diction are unflagging throughout the three hours, most of which she spends onstage.”
-The Daily Camera, Kelly Dean Hansen – February 2013


Norina in Don Pasquale – Opera New Jersey

Headline: Superior singing: love, youth and one traffic-stopping soprano in ‘Don Pasquale’ skrill online gambling

“Plotwise, “Don Pasquale” belongs to a pair of schemers, Norina and Dr. Malatesta. … In ONJ’s production, the singers in those two puppet-master roles commanded the audience as much as they did the other characters. Along with smart, imaginative direction by Michael Scarola and a vibrant, expressive performance by conductor Mark Laycock and the New Jersey Symphony Orchestra, soprano Ava Pine as Norina and baritone Liam Bonner as Malatesta made Saturday night at the McCarter’s Berlind Theatre one to remember. […]

Too often, soubrette roles such as Norina are sung as purely stock characters, as though one could grab a soprano from “The Elixir of Love” and plunk her into “Pasquale” without anyone noticing. But Pine’s character didn’t seem formed from the mold, and in its lifelike specificity, she became a model of the genre. […]

More than cute or flirtatious — and never precious — Pine’s Norina came across as a traffic-stopping, charismatic young woman who is always at the center of attention and knows it and loves it. Pine moved with a dancer’s grace, and the same ease characterized her singing…her technique was thrillingly secure. It was a joy to hear her reach for the many hues within her substantial coppery soprano to paint the text, playing with “sudden” dynamic changes on the word “subito,” adding a sexy breathy sound for “fire,” nonchalantly tossing off “Pronto io son” (“I am ready”) as she says she’s ready to trick Pasquale.”
-New Jersey Star-Ledger, Ronni Reich – July 2010

“The fourth character in the farce was the young bride herself, sung by soprano Ava Pine. With looks reminding the audience of Meryl Streep, Ms. Pine’s performance of the scheming bride suggested that maybe the devil doesn’t wear Prada, but rather connives to get her way no matter what, with a free and easy vocal way of doing it. Ms. Pine played her character as a true 1920’s flapper; one could see her pulling a pack of cigarettes from her garter to go along with her underhanded and devious conversation. This role required tremendous flexibility of voice, and Ms. Pine tossed off the coloratura passages effortlessly, switching to become the vocal killer shrew against Don Pasquale with no trouble.”
-Princeton Town Topics, Nancy Plum – July 2010

“The star of the evening is the sole woman in a principal role, soprano Ava Pine. She is a comely Norina who floats across the stage. Her vocal accuracy, emotion, buoyancy, and appropriate movement are matched by her male colleagues.”
-U.S.1, Elaine Strauss – July 2010

“…the opera took on extra gravity when Pasquale’s bewilderment lapsed into existential despair. Even Norina had a “What am I doing?” moment of remorse, which was masterfully played. […] Ava Pine displayed a steely technique and appropriately cool timbre as Norina.”
-The Philadelphia Inquirer, David Patrick Stearns – July 2010 

 

Adina in L’elisir d’amore – Fort Worth Opera

“As Adina, Ava Pine deployed a lovely soprano that was agile, focused and expressive. Pine and [Michael] Fabiano used their scenes together to develop the edgy, sparring relationship of a good screwball romantic comedy; they were well matched in both their radiant vocal timbres and their naturalistic acting instincts.”
-Opera News, Joshua Rosenblum – September 2010 virtual vegas 7007 slots

Article title: Ava Pine, ‘Elixir’ are Intoxicating

“Much of that is due to delicious singing by a marvelous cast headlined by local favorite Ava Pine as the vivacious Adina. She skipped and flounced about, her face radiant. Her soprano was limber and dark-hued.  […] She was well-matched by powerhouse young American tenor Michael Fabiano as the love-struck Nemorino. In duets with Pine, harmonized phrases sparkled and interaction was spirited. His rendition of the hit aria “Una furtiva lagrima” (“One secret tear”) was bold and heartfelt, supported expressively by bassoonist Kevin Hall. But it was Pine who drew real tears from me — as Adina confessed her true love, silliness gave way to edifying emotion.”
-Fort Worth Star-Telegram, Chris Shull – May 2010

“Soprano Ava Pine was an attractive Adina; she floated an especially lovely high pianissimo in “Prendi, per me sei libero.”  -Wall Street Journal, Heidi Waleson – June 2010

“One element that was not anachronistic, however, was the wonderful singing and acting. Soprano Ava Pine produced an appropriately comical and vocally brilliant rendition of the role of Adina, convincingly playing a slightly deluded small town girl while popping off some of the most difficult music in the soprano repertoire.”
-D Magazine, Wayne Lee Gay – May 2010 winpalace casino pour mac

“Soprano Ava Pine is terrific as Adina, torn between her affection for Nemorino and interest in Belcore. She is a favorite of local audiences from her Dallas appearances as Adele in Die Fledermaus and Elvira in The Italian Girl in Algiers. Pine is completely at home in this repertoire, and her clear soprano easily negotiates Donizetti’s demands.”
-Gregory Sullivan Isaacs, Theater Jones – May 2010

Adina in L’elisir d’amore – Arizona Opera

“While the evening was often as funny as a Seinfeld episode, it was the singing that made it worth the ticket price. …Ava Pine’s brilliant vocal athleticism in pure bel-canto style, as the cold-hearted heroine, Adina, whose cockles are warmed by Nemorino’s persistence. …This is as close to a perfect production as we are likely to see.”  -The Arizona Republic, Richard Nilsen – January 2009

“The lovers could hardly have been better cast or sung. Ava Pine as Adina is youthful, attractive and in excellent control of a beautiful bel canto soprano. She played well the manipulating coquette who is nearly undone by pretending to spurn her real love, the young, infatuated Nemorino.”
-Green Valley News and Sun, Donald Behnke – January 2009

Musetta in La bohème – Wolf Trap Opera

“The supporting cast, particularly the coquettish Musetta (soprano Ava Pine) and her much put-upon Marcello (baritone Daniel Billings), backed up the leads in character roles that were convincingly acted and sung.”
-Washington Times, T.L. Ponick – August 2009 play video roulette online

 

Elvira in L’italiana in Algeri – Dallas Opera

“No shrinking violet as Mustafà’s spurned wife, Elvira, Ava Pine sings arrestingly and well.”
-Dallas Morning News, Scott Cantrell – March 2009

 

Sophie in Werther – Chautauqua Opera

“Ava Pine, a dead ringer for Cate Blanchett, made quite a delightful Sophie; her bright, fleet soprano negotiated her music with ease.”
-Opera News, David Shengold – October 2007

“The supporting roles also demonstrated splendid singing.  Ava Pine sang purely and movingly as Sophie, the heroine’s younger sister.”
-Jamestown Post Journal, Robert W. Plyler – July 2007

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