September 18, 2015
OperaHub brings 'La Hija de Rappaccini' to light
Catan's La Hija de Rappaccini | OperaHub
"Chelsea Beatty is an ecstatic Beatriz. When she sings of the fresh wind that has blown into her garden, “La hija de Rappaccini” bursts into bloom."
- Jeffrey Gantz for The Boston Globe
September 18, 2015
Captivating Elixir from OperaHub
Catan's La Hija de Rappaccini | OperaHub
"Emphasizing a modern conflict between career and love, between the dazzling lure of science and the irrepressible desire for erotic fulfillment, Giovanni (marvelously interpreted by tenor Jonas Budris) and Beatriz (in soprano Chelsea Beatty’s radiantly clear voice) seemed to evolve under our very eyes as the story of their meeting and love unfolded."
"Beatriz’s dying aria was also perfectly lovely, poignant and transcendent, as the audience heard loud and clear that Beatriz had developed from a lonely self-reliant girl into a mature young woman and acquired an unforeseen spiritual capacity to embrace love and death rather than collude further with her father’s sterile quest for immortality. Beatriz’s dying gift is to reveal that human longing is not ultimately directed to Truth but to being loved — to passing to “the other shore” beyond the labyrinth of our solitude. Following Beatty’s rapturous, yet beautifully sober, rendering of Octavio Paz’s poetic words, “I am falling, falling inward, towards the center, and I do not touch the depth of my soul,” the orchestra gave a sensitive and solemn version of Catàn’s epilogue..."
- Anne Davenport for Boston Musical Intelligencer
OperaHub brings 'La Hija de Rappaccini' to light
Catan's La Hija de Rappaccini | OperaHub
"Chelsea Beatty is an ecstatic Beatriz. When she sings of the fresh wind that has blown into her garden, “La hija de Rappaccini” bursts into bloom."
- Jeffrey Gantz for The Boston Globe
September 18, 2015
Captivating Elixir from OperaHub
Catan's La Hija de Rappaccini | OperaHub
"Emphasizing a modern conflict between career and love, between the dazzling lure of science and the irrepressible desire for erotic fulfillment, Giovanni (marvelously interpreted by tenor Jonas Budris) and Beatriz (in soprano Chelsea Beatty’s radiantly clear voice) seemed to evolve under our very eyes as the story of their meeting and love unfolded."
"Beatriz’s dying aria was also perfectly lovely, poignant and transcendent, as the audience heard loud and clear that Beatriz had developed from a lonely self-reliant girl into a mature young woman and acquired an unforeseen spiritual capacity to embrace love and death rather than collude further with her father’s sterile quest for immortality. Beatriz’s dying gift is to reveal that human longing is not ultimately directed to Truth but to being loved — to passing to “the other shore” beyond the labyrinth of our solitude. Following Beatty’s rapturous, yet beautifully sober, rendering of Octavio Paz’s poetic words, “I am falling, falling inward, towards the center, and I do not touch the depth of my soul,” the orchestra gave a sensitive and solemn version of Catàn’s epilogue..."
- Anne Davenport for Boston Musical Intelligencer
May 23, 2015
Brits Provide Frivolity and Serious Fun Arthur Sullivan's The Zoo | Odyssey Opera "The soloists were both vocally very fine and also suitably caught up in the faux-melodrama of the story. The ladies—Chelsea Beatty as Laetitia and Sadie Gregg as Eliza—and their sweethearts—Daniel Shirley as Carboy and Colin Levin as Thomas Brown—made the most of every possible situation." - Steven Ledbetter for Boston Musical Intelligencer May 23, 2015 Too silly, too silly: Comic one-acts lighten up Odyssey Opera’s “British Invasion” Arthur Sullivan's The Zoo | Odyssey Opera "Soprano Chelsea Beatty sang prettily as his love interest, the grocer’s daughter Laetitia." - David Wright for Boston Classical Review |
November 16, 2014
Music of young composers sparks BNMI’s wide-ranging program
Voci et Veritas Concert | Boston New Music Initiative
"Soprano Chelsea Beatty muttered, whispered, and hummed her lines to haunting effect . . .
The lines of the searching third section, “I don’t know/ which tree it comes from/that fragrance” featured Beatty in passages of creamy lyricism."
"The lines of the second, “Non Chiederci La Parola,” grow into aggressive trills and darting figures, Chelsea Beatty delivering her phrases with stentorian power. The concluding song, “Ciò che di me sapeste,” was dark and haunting, the instruments covering Beatty’s wispy phrases in a thin blanket."
- Aaron Keebaugh for Boston Classical Review
Music of young composers sparks BNMI’s wide-ranging program
Voci et Veritas Concert | Boston New Music Initiative
"Soprano Chelsea Beatty muttered, whispered, and hummed her lines to haunting effect . . .
The lines of the searching third section, “I don’t know/ which tree it comes from/that fragrance” featured Beatty in passages of creamy lyricism."
"The lines of the second, “Non Chiederci La Parola,” grow into aggressive trills and darting figures, Chelsea Beatty delivering her phrases with stentorian power. The concluding song, “Ciò che di me sapeste,” was dark and haunting, the instruments covering Beatty’s wispy phrases in a thin blanket."
- Aaron Keebaugh for Boston Classical Review
October 25, 2012
CU Opera is a tour de force The Rake's Progress | CU Opera "Soprano Chelsea Lewis, familiar as the title character in last season's "Suor Angelica," plays the redeeming woman, whose almost comically obvious name, Anne Trulove, suggests she will be a stock character. But as noted, she is no Gretchen, no Donna Elvira. Lewis plays her as constant, heartbroken and strong but never vengeful, never pathetic. In a demanding "cabaletta" (Stravinsky retained old-fashioned conventions and terminology) at the end of Act I, Lewis is sure to bring down the house." - Kelly Dean Hansen for Daily Camera |
March 16, 2012
CU soars with two Puccini one-act operas Suor Angelica | CU Opera "The demanding title role is double cast. Chelsea Lewis performs tonight and Sunday, while Sarah Davis takes the stage Saturday. While Lewis projects more defiance at the end and Davis a bit more vulnerability, both are splendid, and are on stage by themselves, singing demanding music, for the entire last third of the piece." - Kelly Dean Hansen for Daily Camera |
May 22, 2011
Current Opera: Juventas’s Light and Power Light and Power | Juventas Opera Project "Beatty’s performance was a well-rounded package – her quality vocal performance was enhanced by a captivating stage presence and convincing body language..." - Peter Van Zandt Lane for The Boston Music Intelligencer |
March 13, 2011
Meta-Minimalism and OperaHub’s 'The Four-Note Opera' The Four-Note Opera | OperaHub "...hilariously performed by a cast that well over-shadowed some of the park and barking we sometimes even see on Boston’s main operatic stages..." - Bryce Lambert for BOSTON lowbrow |
December 20, 2010
Refreshing Change from Jolly Olde
Juventas New Music Ensemble 2010 Holiday Concert
"The singer (here, Chelsea Beatty, soprano, who has a good tone and powerful projection) is asked to assign these fragments randomly to the movements, which otherwise involve vocalise-style wordless singing."
- Vance R. Koven for Boston Music Intelligencer
Refreshing Change from Jolly Olde
Juventas New Music Ensemble 2010 Holiday Concert
"The singer (here, Chelsea Beatty, soprano, who has a good tone and powerful projection) is asked to assign these fragments randomly to the movements, which otherwise involve vocalise-style wordless singing."
- Vance R. Koven for Boston Music Intelligencer
November 17, 2010
High craft, dramatic heat spark ʻCrucibleʼ The Crucible | Boston Opera Collaborative "Chelsea Beatty as the hesitant accuser Mary Warren, sung with substance and acted with clarity..." - Matthew Guerrieri for The Boston Globe November 16, 2010 The Crucible The Crucible | Boston Opera Collaborative "Chelsea Beatty as Mary Warren and Julia Teitel as Elizabeth Proctor were standouts in this production. Chelsea was, by far, the strongest player in the cast. Her pinnacle moment was in the third act court room scene when she recanted her confession. Against...[the] stiff portrayal of John Proctor and the overly exuberant...Abigail Williams, Beatty was a breath of fresh air. Her musicality and stage presence won me over entirely." - J. Jacob Krause for Boston Theater Review |