“A tour de force, brilliantly sung and stunning in its psychological breadth.”
Allison Cook’s reputation as one of today’s foremost exponents of contemporary and 20th century repertoire has been firmly established through the recent creation of a range of formidable characters including Marie in Wozzeck, the Duchess of Argyll in Powder her Face, Judith in Bluebeard’s Castle, Schoenberg’s Erwartung, and Kaija Saariaho’s Emilie. As an artist of remarkable versatility and vocal range, this season brings Cook’s anticipated role debut as Richard Strauss’ Salome in a new production by acclaimed director Adena Jacobs for English National Opera, conducted by Martyn Brabbins.
Other key appearances in the current season include the world premiere of Casablancas’ Enigma De Lea for Gran Teatre del Liceu, Francesconi’s Quartett at both Teatro alla Scala and Theater Dortmund, Judith for Teatro Nacional de Sao Carlos and, with Scottish Opera on tour, Allison reprises her portrayal as “the Wife” in Joe Hill Gibbins’ acclaimed production of Greek at the Brooklyn Academy of Arts.
In concert Allison further expands an already extensive repertoire with Pierrot Lunaire at the Library of Congress, Washington with Ensemble Signal and Berio’s Folk Songs with the Bilkent Symphony Orchestra.
“Allison Cook as Eddy’s wife (and mother) especially touching in her lament for her dead husband, sung stepping over and around his corpse.”
(Bachtrack, February 2018)
“Susan Bullock and Allison Cook gave virtuoso performances in the chameleon-like soprano roles – both singers blurring the lines between humanity and caricature”
(Opera Magazine, October 2017)
“But then there was Allison Cook as Eddy’s wife and (it transpires) mother, singing with a smoky, curdled sensuality that could veer into either brutality or passion.”
(The Spectator, August 2017)
“Allison Cook as Eddy’s real mum and lover whose aria lamenting the death of her abusive husband was matchless”
(Classical Source, August 2017)
“The two soloists fully assume the requirement of writing…it is first of all the astonishing performance of Allison Cook as the Marquise that will be remembered, passing from one hallucination to another at will, with pyrotechnics as much musical as they were psychic.”
(Anaclase, March 2017)
“The Marquise de Merteuil was performed by the mezzo soprano Allison Cook; unmatchable on stage and delivering a vocal performance which proved most convincing.”
“Allison Cook also gives a tour de force performance. It’s not so much that she portrays the Duchess, rather she reincarnates her. First as a playful sex-goddess, then as a fallen angel. With a final number as gripping as the best bel canto aria.”
(Koen Van Boxem, Tijd, September 2015)
“Allison Cook’s portrayal of the Duchess – a triumph in one of the New York City Opera’s last productions – remains a tour de force, brilliantly sung and stunning in its psychological breadth.”
(George Loomis, Opera Magazine, August 2015)
“Baritone Robin Adams and mezzo Allison Cook are formidable singers and actors. Cook is also the sexiest woman ever seen on an opera stage in a while, to the point that the question of how the performance of this opera could go on without her is inevitable.”
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