Handel & Other Baroque

Title role in Theodora — University of North Texas guest artist

A leading lady whose claim to our attentions is faith-based virginity might be a hard sell in our cynical times. But Ava Pine delivered Theodora’s pieties with a warmly fluid soprano that missed no opportunity for expressivity.”
-Dallas Morning News, Scott Cantrell – February 2012

“The role of Theodora is sung by soprano Ava Pine. She possesses a clear, bell-like tone in her voice that is immediately entrancing and hypnotic; of all the soloists in the work, she is able to fill the large hall with apparent ease yet still retain a delicacy that keeps the audience on the edge of their seats. Her final duet with counter- tenor Ryland Angel was captivating in tone as the two stood lamenting their fate.”
-Theater Jones, John Norine, Jr. – February 2012

 


Cleopatra in Giulio Cesare – Fort Worth Opera

“In spite of all those countertenors, it was two females playing actual females—soprano Ava Pine as Cleopatra and contralto Meredith Arwady—who won the most cheers. Pine, who began her international career largely in the Dallas area, was a natural Cleopatra, both vocally and dramatically, with the stamina and flexible technique this role requires.”
-Front Row, Wayne Lee Gay – May 2011

“On the plus side, it has a glamorous, seductive, vocally ravishing Cleopatra in Ava Pine. She colors her soprano a thousand shades, caresses her phrases and flickers nimbly through coloratura.”
-Dallas Morning News, Scott Cantrell – May 2011 us gambling on iphone apps

“But it was the brilliant performance of TCU alumnus Ava Pine as Cleopatra that raised the evening to another level. The soprano didn’t just sing the complex vocal lines but luxuriated in the florid possibilities. Seamless scale passages, every note in place no matter the tempo, and all of the other vocal demands were met with joyous skill.”
-Fort Worth Weekly, Leonard Eureka – June 2011

“Finally, there is the role of Cleopatra, sung by Ava Pine. Everything about her performance is stunning. Her voice has a very light, airy quality that allows every note she sings to resonate with a clear vibrancy; many of the vocal runs that lesser performers would muddle through are note-perfect in this production. Pine also shines as an actor, always carrying herself with a regal and sincere grace.”
-Theater Jones, John Norine Jr. – May 2011 real gambling on iphone

“Her voice, creamier and richer than it has any right to be, sparkled and shimmered over the surface of the music and plumbed its depths, too, in a wonderful demonstration of the dramatic possibilities of the Baroque. Cleopatra is, far and away, the most complex character in this opera, and Ava found the nuances from aria to aria — and from note to note. Girlish and flirty at the outset, grieving later, then jubilant — and always regal, always graceful, always gorgeous.”
-William V. Madison, writing at Billevesées – June 2011

Cleopatra in Marc’Antonio e Cleopatra, Johann Hasse – Grammy-nominated recording

“Ava Pine has a finely focused lyric soprano with strong coloratura … “A Dio trono, impero a Dio” and “Morte col fiero aspetto” display a good emotional sense, and a voice well up to the extensive demands placed upon its agility.”
-Fanfare, Barry Brenesal – January 2011

“Soprano Ava Pine has the unenviable task of replicating the beauty and depth of the great Farinelli as Cleopatra. She does a very nice job of it, adding enough ornamentation to enhance the vocal display and nicely phrasing even the portions of coloratura in the furore arias.”
-Fanfare, Bertil van Boer – January 2011

“Hasse’s Cleopatra is a fierce creature, fearless and defiant.  Originally sung by Farinelli in drag, the role calls for one coloratura show-shopper after another, a fitting vehicle for the iconic castrato and ebulliently portrayed here by soprano Ava Pine. “
-Early Music America, Berna Can – Spring 2011

“Pine has quite a rich voice, she is no slim-voiced canary, but displays a lively sense of baroque style and is quite fearless in her way with Hasse’s virtuosic vocal lines. She makes a strong, commanding queen.”
-MusicWeb International, Robert Hugill

Melissa in Amadigi di Gaula – Boston Baroque

“Few characters inspire more exciting vocal writing than a jilted sorceress, and soprano Ava Pine took advantage of every opportunity Handel gave her as Melissa, mistress of the dark arts in relentless pursuit of Amadigi’s love. Portraying the sorceress as an unhinged Erté come to life, she was the personification of tormented longing, persuasively veering from hurt to tenderness to rage and back again with eloquent musicianship and an unshakable technique.”
-Opera News, Kalen Ratzlaff – January 2010

“Ava Pine was splendid as Melissa, singing with tonal richness and dramatic intensity in equal measure.”
-The Boston Globe, Jeremy Eichler – October 2009

“…it was Pine who all but lit up the stage. Dressed in a skin-tight black sheath that might have come off a serpent, her Melissa was a broken-hearted stalker with whose obvious pain we could sympathize, and Pine pulled off one acting coup after another while unleashing a soprano of admirable force and intense color; this was easily one of the strongest operatic performances of the Boston year.”
-The Hub Review, Thomas Garvey – October 2009 winpalace casino pour mac

“And soprano Ava Pine, so touching [as Romilda in] Xerxes, was perfect (in a slinky black sheath) as the villainous sorceress Melissa. Her singing was full yet effortless and beautifully textured.”
-Boston Phoenix, Lloyd Schwartz – October 2009 virtual bingo com

Article title: Did the best acting of 2009 occur on the opera stage?

“…here are a few of the past year’s best dramatic/operatic performances, which could hold their own, frankly against those of any actor in town:  […] Ava Pine – Melissa, Amadigi di Gaula, Boston Baroque. A performance of simultaneous tragic and comic power that was also, believe it or not, a slinky hoot; I’d almost accuse Ms. Pine of chewing the scenery, only there wasn’t any.”
-The Hub Review, Thomas Garvey – December 2009

Romilda in Xerxes – Boston Baroque

“One could hardly ask for a better cast. They were young, fresh-voiced, and appealing and had vocal technique to burn. … Soprano Ava Pine glowed as Romilda, the object of both of their affections, and was particularly beguiling when she suddenly seemed to notice that there was an orchestra onstage, grabbing a music stand and taking the opportunity to toss off a da capo aria, just because she could.”
-Opera News, Kalen Ratzlaff – January 2009

“An exciting voice for the future is talented Texan soprano Ava Pine who sang the role of Romilda, beloved by both King Xerxes and his brother Arsamene. She belied her inexperience in the genre to give a riveting performance that grew with every scene, her richly expressive soprano under fine control throughout, with plenty of dynamic on tap when needed.”
-Opera Today, Sue Loder – November 2008

“Ava Pine was particularly compelling as Romilda, singing with rich expressivity and tonal warmth.”
-The Boston Globe, Jeremy Eichler – October 2008 the best gambling directory

“As the romantic heroine, Romilda, soprano Ava Pine, who sings mostly in Texas, is a major find, a touching actress with a mobile face and a secure, creamy, heart-melting tone.”
-The Boston Phoenix, Lloyd Schwartz – October 2008

Morgana in Alcina – Wolf Trap Opera

“Ava Pine was a deliciously ditsy Morgana, getting a snapshot of the disguised Bradamante in the first scene and flirting up a storm. Pine’s striking portrayal was matched by a bright, agile voice that could caress or cavort through a melodic line with equal finesse; her phrasing and breath control in “Ama, sospira” were especially impressive.”
-Opera News, Tim Smith – October 2008

“Particularly successful was Ava Pine as Alcina’s flaky sister, Morgana. She played the role as a ditsy blonde, offering gems like “Tornami a vagheggiar,” one of the work’s hit tunes, with a zany relish and a cool soprano.”
-Washington Post, Anne Midgette – July 2008

“The best performance came from soprano Ava Pine as a loopy, sluttish Morgana, both because of her extraordinary accuracy and intonation in arias like “Tornami a vagheggiar” at the end of Act I. … After the nearly faultlessly placed staccato technique of that aria, Pine gave a show-stopping rendition of “Credete al mio dolore” in Act III, complete with a shimmering pianissimo high note in the cadenza. She also seemed the most natural actress on the stage, creating an unforgettable character.”
-Ionarts, Charles T. Downey – July 2008

“a riveting actress … Ava Pine, as Alcina’s ditsy, flirtatious sister, Morgana; her bright, agile voice, admirable breath control and wonderful expression complete the striking presence.”
-Baltimore Sun, Tim Smith – July 2008

Minerva in Il ritorno d’Ulisse in patria – Wolf Trap Opera

“Ava Pine, so impressive as Morgana in last year’s Alcina, handled [Minerva’s] ascendant flights with panache.”
-Ionarts, Charles T. Downey – July 2009

“Ava Pine was a puckish and clever Minerva.”
-Washington Post, Mark J Estren – July 2009

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