Press

Oratorio Society of New York with Bach’s Magnificat and Mozart’s Requiem

Edward Kliszus, The Front Row Center

“Soprano Susanna Phillips transported listeners to a world of ethereal beauty and sublime transcendence. Phillips’s solo in the opening movement, “Et exsultavit,” was a joyful declaration of praise and gratitude. Her solo lines soared with ease and grace above the choral textures, emphasizing lyrical exaltation.”

Stellar soloists provide highlights in MOB’s contrasted season opener

Lawrence A. Johnson, Chicago Classical Review

“Local favorite Susanna Phillips provided consistently lovely and expressive singing. The soprano’s pure gleaming tone was a highlight of the Recordare and she was aptly radiant in the Lux aeterna.”

Distinctly human

Callum John Blackmore, Parterre Box

“Phillips—once a mainstay Musetta in this production—made a particularly elegant debut in the role of Mimì. Hers was a slow-burning interpretation. Her aria and duets in the first act sounded almost guarded, as if she were deliberately holding back[…]By the third act, however, it became clear exactly what she was holding back: a raw, unbridled vocal performance that perfectly captured the anguish and desperation of the dying Mimì. I was holding back tears at the moment when her Mimì emerged from the shadows to confront the jealous Rodolpho: in the ensuing duet, Phillips found warmth and elegance in Mimì’s torrid, agonized outpourings.”

International roster of classical musicians shine in second Chamberfest West

Kenneth DeLong, Calgary Herald

“New this year was the participation of soprano Susanna Phillips, a singer of remarkable talent and superb voice, whose singing gave a new dimension to the festival. Phillips was featured in a fine new set of songs specially composed for her by pianist/composer Michael Stephen Brown; elsewhere she sang music by Schubert, Respighi, and Korngold.”

The determination to move forward: CMNW makes serious and hopeful music with a poetic vibe

James Bash, Oregon Watch

“Phillips sang with a sense of immediacy that resonated with listeners, starting with Angelou’s poem entitled “Ailey, Baldwin, Floyd, Killens, and Mayfield” – a tribute to dancer Alvin Ailey, writer James Baldwin, music educator Samuel A. Floyd Jr., writer John Oliver Killens and actor Julian Mayfield – all of whom inspired her. Delving into Bolcom’s descriptive word painting, Phillips wonderfully decayed the words “fall away,” elongated “peace blooms,” and stage whispered “They existed” – all of which gave a depth-charge to the poem. In contrast, Dickinson’s “Tis not that Dying hurts us so” offered an introspective look, which Bolcom painted with a twinkling piano underlayment. After a meditative instrumental interlude that allowed the viola more presence, Phillips and her colleagues delivered a sense of closure and a feeling of hopefulness with Kenyon’s “Let Evening Come.”

Schubert’s Der Hirt auf dem Felsen (The Shepherd on the Rock) received an impeccable performance by Phillips, clarinetist David Shifrin (CMNW Artistic Director Emeritus – 46th summer), and pianist Park. Outstanding breath control by Phillips and Shifrin created a soothing and smooth echoing exchange. They altered the mood as the shepherd expressed his loneliness and then freed up his emotions with the bubbly expectation of spring. Park supported it all with a beautiful, nuanced tone.”

Oratorio Society Debuts Stunning NATION OF OTHERS

Richard Sasanow, Broadway World

Soprano Phillips was the perfect muse for the music, with her glowing voice and demeanor for her solo song, "Prairie Sunset."

Ten Thousand Joyfully Adore Thee: H+H

Lee Eiseman, The Boston Musical Intelligencer

“Soprano Susanna Phillips soared with lustrous authority.”

Met Return of “Così fan tutte”

Anthony Tommasini, The New York Times

“The soprano Susanna Phillips had what could be a breakthrough night at the Met as Fiordiligi, who is betrothed to Guglielmo. She has the purity and bloom of a Mozart lyric soprano. Yet her voice can lift phrases with penetrating sound and deep richness. She was especially exquisite in the poignant aria “Per pietà” (“Have pity”), when Fiordiligi shamefully realizes that she is weakening to the romantic entreaties of a stranger who is actually her sister’s lover in disguise.”

MET OPERA REVIVES LE NOZZE DI FIGARO WITH MUSICAL STYLE

Linda Holt, Bachtrack

“Among these, here was no finer performance in this production than Susanna Phillips as the Countess. In Act 2’s “Porgi, amor”, the mellow richness of her soprano voice communicated a touching despair. Similarly, in Act 3, Phillips not only captured the sweet sadness of the aria, “Dove sono”, but infused her preparatory recitative with heartbreaking delicacy, her voice rising like a bell to a lingering A, then hovering there ever so briefly before gliding into the familiar, anticipated aria.”

Divas duel delightfully in entertaining Music of the Baroque program

Lawrence A. Johnson, Chicago Classical Review

“Phillips floated a lovely rendering of Lisaura’s “Quanto dolce amor saria,” her rich tone and expressive warmth reflecting what were said to be the lauded qualities of Cuzzoni.

“The American soprano offered a flexible, lightly inflected rendering of “Torni omai la pace” from Tolomeo. Phillips delivered the finest moment of the night with Antigona’s “Da tanti affanni oppressa” from Admeto. Sung with refulgent tone and great depth of feeling suffused with sadness, this was undeniably great singing and inspired vocal artistry.”

Berg with the San Francisco SymphonY

Joshua Cosman, Datebook

“…the opening performance of Berg’s “Seven Early Songs,” with soprano Susanna Phillips as a vibrant, eloquent soloist, was captured for a promising future release on the in-house SFS Media label. With the arrival of “Die Nachtigall” (“The Nightingale”), Phillips’ considerable gifts — particularly her ability to unleash high notes that are both powerful and sheathed in velvety tone — came to the fore at last. Her evocation of birdsong shone through and above the orchestral accompaniment, and she brought a similar clarity of purpose to the compact expressivity of “Im Zimmer” (“In the Room”) and to the alluring charm of the final “Sommertage” (“Summer Days”).”

Stephen Smoliar, The Rehearsal Studio

“For her part Phillips could not have been a more satisfying vocalist. Her sense of pitch was impeccable, allowing her free rein to establish the position of her own sonorities among Berg’s instrumental resources. She also seemed to appreciate the extent to which each of the seven songs amounted to a miniaturist interpretation of a relatively brief poem. The texts were not as abbreviated as those of a haiku; but, through Phillips’ interpretation, one could appreciate each song as a passing moment, which seemed to reverberate in memory immediately after it concluded. Most important, however, was how Phillips worked with MTT to bring sheer transparency to music that, under less secure hands, could have been a muddle of overly-thick textures.”

Lively Foundation

“The soloist, soprano Susanna Phillips has a clear, charming voice which was the perfect match for the music and the poetry. Good news: the performances of Berg’s Seven Early Songs were recorded for SFS Media.”