Contemporary

Title role in Lysistrata – Fort Worth Opera

“Ava Pine, as the Athenian women’s organizer Lysia (later renamed Lysistrata), all but stole the show. By turns seductive, determined, wounded and moved, she sailed sweetly through a vast range of pitches.”
-Opera News, Scott Cantrell – September 2012 us gambling sites for mac

“Still, the proceedings are pretty well dominated by an incandescent Ava Pine in the lead role. Those who remember her as The Angel in Fort Worth Opera’s production of Angels in America a few years back will be struck by her loose-limbed, sexy performance as a funny, earthy woman who finds herself thrust into a bigger role in history.“
-Fort Worth Weekly, Kristian Lin – June 2012

“Vocally, the production is truly top notch. Leading the women in their stand against the warrior men is Ava Pine, singing the role of Lysia. Once again, Ms. Pine proves that she is a true star of the opera stage; she wins the audience over with her strong, yet sweet vocal tone as well as the large amount of gravitas that bolsters and unites the entire cast and elevates their performance as a whole.”
-Theater Jones, John Norine, Jr. – June 2012

“Sung exquisitely by Ava Pine, Lysia is sometimes tender and vulnerable, sometimes sassy and strong, and always sexy and endearing. Pine’s high notes soar without strain and her tone is a beautiful combination of lightness and warmth.”
-Dallas Observer, Katie Womack – June 2012

“Lysistrata (who goes by the name Lysia for most of the opera) first appears as lust-driven and self-centered, but, almost in spite of herself, becomes devoted to a higher calling of promoting peace. Even when she personally falters, the ideal triumphs. In the end, in a beautiful, soaring aria, she realizes the personal sacrifice that those who devote themselves to public service experience—that lust for power, desire to serve, and ultimate self-abnegation are hopelessly intertwined. […] TCU-trained soprano Ava Pine, who just keeps wowing regional and international audiences, earned another laurel in this title role.”
-D Magazine, Wayne Lee Gay – June 2012

“Soprano Ava Pine, a Metroplex favorite, sings the title role as the plucky wife of the general who convinces her fellow female Athenians and eventually the Spartans to ban together in a ban on sex. Her comedic delivery of lines such as “This is one tough crowd” and “The tigress must digress” caused bursts of laughter from the audience. Ms Pine’s flippant humor and light singing quality worked well in this role … her singing of the repetitive “No” in one aria was beautifully executed and touted the vocal fluidity for which Ms Pine is well known.”
-Pegasus News, Laurie Lynn Lindemeier – June 2012

 

The Angel in Angels in America – BBC Symphony Orchestra (European debut)

In a multi-parted ensemble work, Pine’s incandescent Angel, Anderson’s brawling, bitter Roy and Moore’s petulant, witty, courageous Prior were outstanding.
-The Independent, Anna Picard – April 2010 real gambling on iphone

“As The Angel, Ava Pine had the virtuosity necessary to bring off her appearance at the end of Act One – one of the great theatrical moments in post-war opera and as spine-tingling here as it needed to be.”
-Classical Source, Richard Whitehouse – April 2010

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Blanca in Rio de Sangre – Florentine Opera (world premier)

“Ava Pine, as Blanca, the doomed daughter in question, has a lovely, pure, focused sound that serves her especially well in the shimmering, haunting aria she sings about Igneo while she’s being held hostage.”
-Opera News, Joshua Rosenblum – July 2012 (reviewing the recording) usa online casino echeck deposit

“The standouts were Ava Pine and Vale Rideout as Blanca and Igneo, the young lovers; their radiant singing and beguiling characterizations left a deep and lasting impression.”
-Opera News, Gregory Berg – January 2011 roulette real money instant play android

“The creamy luxury of Ava Pine’s soprano, displayed to great effect in a lightly-scored extended solo in Act 2, was a balm for the whole opera.”
-Third Coast Digest, Tom Strini – October 2010

“The standout in the cast was the young soprano Ava Pine as Blanca. She brought the right girlish charm to Delacruz’s ill-fated daughter and a rich tone and touching sensitivity to her tragic final scene.”
-The Classical Review, Lawrence A. Johnson – October 2010

“Soprano Ava Pine, the cast standout, was the sweetly innocent Blanca. Her captivity aria in Act III, an actual snippet of melody, was the first authentic moment in the show.”
-Heidi Waleson, Wall Street Journal – October 2010

The Angel in Angels in America – Fort Worth Opera

“The angel who visits Prior during his illness is a comparatively small role in the original two-part drama … for the operatic libretto, the role looms much larger. Ava Pine flies in and out on wires like some celestial Peter Pan, trilling and vocalizing in shimmering cascades of coloratura.”
-Dallas Morning News, Lawson Taitte – June 2008 

“Soprano Ava Pine brought humor and appropriately unearthly high notes to the Angel’s music — while flying.”
-Opera News, William V. Madison – August 2008

“The arrival of the angel (Ava Pine) through the roof of Prior Walter’s (David Adam Moore) bedroom is thrilling to see. …  when Moore and Pine pair up in Act 2, they make a dazzling one-two punch of gorgeous singers.”
-Dallas Voice, Arnold Wayne Jones – June 2008 us gambling on iphone apps

“Ms. Pine gave her Angel a wit and level of humor that was unexpected. She also made the swiftest entry of anyone flying on a stage I’ve ever seen. When she descends from the rafter she does it at lightning speed: it’s startling and thrilling.”
-Pegasus News, Mark-Brian Sonna – June 2008

“Ava Pine was pure coloratura and luminosity as the Angel.”
-Fort Worth Weekly, Anthony Mariani – June 2008

“Ava Pine’s clarion singing — and her aerials — make her a standout as the Angel.”
-Fort Worth Star-Telegram, Chris Shull – June 2008

“The female cast was especially superb. Ava Pine was absolutely breathtaking as the Angel.”
West and Clear Panther City Media, Steve Smith – June 2008