Anna Christy

"Anna Christy's Lucia - brilliantly sung and presented." (Robert Harris, Toronto Globe and Mail, April 2013)

"I had nothing but admiration for Anna Christy’s Lucia, not just for the pain she endured in the evening’s first half, but for the way she turned her legendary mad scene into a piece of searing dramatic emotion, rather than a mere display of extraordinary vocal technique (which Christy also possesses)." (Richard Ouzounian, The Toronto Star, April 2013) 

"Soprano Anna Christy was spectacular in the title role, which includes one of opera’s most famous mad scenes in the final act." (John Terauds, Musical Toronto, April 2013)

"The perky, gleaming soprano Anna Christy was charming as Lisette." (Anthony Tommasini, The New York Times, January 2013) 

 "Anna Christy’s sparkling soprano sounded true and lovely in this part." (New York Post, January 2013)

"Thanks to a voice filled with harmonic colours whose lightness blossoms fully at modern pitch, Anna Christy manages to sing with both naughtiness and sensitivity whilst avoiding the pitfalls of superficiality." (Altamusica, May 2012)

“Soprano Anna Christy, so delectable as the mechanical doll Olympia in Lyric's "Tales of Hoffmann" earlier this season, was even more charming and funny as the coquette Zerbinetta, tracing the florid vocal gymnastics of her big, 13-minute showpiece aria with such silvery ease and fluidity as to draw the evening's biggest ovation.” (Ariadne auf Naxos, Lyric Opera Chicago  - Chicago Tribune, November 2011)

“Oberon and Tytania, the latter radiantly sung by Anna Christy, a soprano who's completely at home in the ethereal stratosphere of Britten's coloratura writing. (Chicago Tribune, November 2010)

“As his fractious spouse Tytania, Anna Christy was a regal presence with her mile-long gown train. The soprano handled the vocalism and humor with equal flair, her high voice assaying Tytania’s mock-coloratura with ease.” (Chicago Classical Review, November 2010)