Photo by John Shea
April 16, 2024
Ghent Playhouse offers choice with 'The Bridges of Madison County'
"Chelsea Beatty and Bill Douglas are Marge and Charlie, the comic relief of the show as the all too nosy neighbors. Marge appears to wear binoculars as a piece of jewelry. Both of these experienced performers clearly know their way around a script and how to make the most out of it without ever resorting to being so over the top that they are unbelievable or buffoonish."
- Bill Kellert for Nippertown
April 16, 2024
‘The Bridges of Madison County’ plays at the Ghent Playhouse through April 28
"The show isn’t just these five people. The ensemble is strong, and their characters drift in and out much as they would in life. Two other players deliver beautiful performances that are definitely memorable (even if their songs are not). Katie Snyder as the State Fair Singer gives a delicious rendition of “State Road 21,” and the performance by Chelsea Beatty of “Get Closer” are other musical moments will not easily be forgotten."
- J. Peter Bergman for The Berkshire Edge
April 13, 2024
Love is Better Indeed: The Bridges of Madison County at The Ghent Playhouse is a Musical Theater Production Full of Heart
" Chelsea Beatty (Marge) and Bill Douglas (Charlie) provided comic relief and also delivered some of the most touching scenes in the show."
- Joanna Palladino for Radioradiox
April 15, 2024
REVIEW: “The Bridges Of Madison County” At The Ghent Playhouse
"Nosy neighbors Marge (Chelsea Beatty) and Charlie (Bill Douglas) are the couple that provide comic relief as well as the comfort one sees in a small close community. Their presence and performance are welcome, breaking up the drama between the leads. "
- Paula Kaplan-Reiss for Berkshire on Stage
Ghent Playhouse offers choice with 'The Bridges of Madison County'
"Chelsea Beatty and Bill Douglas are Marge and Charlie, the comic relief of the show as the all too nosy neighbors. Marge appears to wear binoculars as a piece of jewelry. Both of these experienced performers clearly know their way around a script and how to make the most out of it without ever resorting to being so over the top that they are unbelievable or buffoonish."
- Bill Kellert for Nippertown
April 16, 2024
‘The Bridges of Madison County’ plays at the Ghent Playhouse through April 28
"The show isn’t just these five people. The ensemble is strong, and their characters drift in and out much as they would in life. Two other players deliver beautiful performances that are definitely memorable (even if their songs are not). Katie Snyder as the State Fair Singer gives a delicious rendition of “State Road 21,” and the performance by Chelsea Beatty of “Get Closer” are other musical moments will not easily be forgotten."
- J. Peter Bergman for The Berkshire Edge
April 13, 2024
Love is Better Indeed: The Bridges of Madison County at The Ghent Playhouse is a Musical Theater Production Full of Heart
" Chelsea Beatty (Marge) and Bill Douglas (Charlie) provided comic relief and also delivered some of the most touching scenes in the show."
- Joanna Palladino for Radioradiox
April 15, 2024
REVIEW: “The Bridges Of Madison County” At The Ghent Playhouse
"Nosy neighbors Marge (Chelsea Beatty) and Charlie (Bill Douglas) are the couple that provide comic relief as well as the comfort one sees in a small close community. Their presence and performance are welcome, breaking up the drama between the leads. "
- Paula Kaplan-Reiss for Berkshire on Stage
Photo by T-Stop Pictures
June 24, 2018
‘Divas’ is touching, funny, and fascinating
DIVAS | OperaHub
"With the stage at floor level, music director Patricia Au at the piano, and the divas clad in Drew Myers-Regulinski’s period silhouettes, the small Plaza Theatre at Boston Center for the Arts gave the audience an up-close seat to arias typically heard from far away. Chelsea Beatty as Adelina Patti started things off with a tour de force “Sempre libera,” her immaculate high notes just on the right side of overwhelming."
- Zoë Madonna for The Boston Globe
June 22, 2018
An Insightful, Relevant Look at DIVAS
"Other highlights included Chelsea Beatty giving “Sempre libera” a defiant air different from the one Adelina Patti would have given to Violetta, and I also quite liked Glorivy Arroyo’s deeper voice when she sang one half of “La mère grand”."
- Arturo Fernandez for Schmopera
June 26, 2018
OperaHub’s “DIVAS” An Exquisite Storytelling, Aural Experience
"Being true divas, the individual stars alternate between trying to assert dominance over the others and supporting each other as women. This framing device also serves as a clever way to set up each woman to tell their story and, of course, to sing. Fittingly, the most dominant of the divas, late 19th century prima donna Adelina Patti (Chelsea Beatty), who after a stint as an American child protégé became an international rock star of sorts, opens with a gorgeous rendition of “Sempre Libera” from La Traviata."
- Mike Hoban for Theater Mirror
‘Divas’ is touching, funny, and fascinating
DIVAS | OperaHub
"With the stage at floor level, music director Patricia Au at the piano, and the divas clad in Drew Myers-Regulinski’s period silhouettes, the small Plaza Theatre at Boston Center for the Arts gave the audience an up-close seat to arias typically heard from far away. Chelsea Beatty as Adelina Patti started things off with a tour de force “Sempre libera,” her immaculate high notes just on the right side of overwhelming."
- Zoë Madonna for The Boston Globe
June 22, 2018
An Insightful, Relevant Look at DIVAS
"Other highlights included Chelsea Beatty giving “Sempre libera” a defiant air different from the one Adelina Patti would have given to Violetta, and I also quite liked Glorivy Arroyo’s deeper voice when she sang one half of “La mère grand”."
- Arturo Fernandez for Schmopera
June 26, 2018
OperaHub’s “DIVAS” An Exquisite Storytelling, Aural Experience
"Being true divas, the individual stars alternate between trying to assert dominance over the others and supporting each other as women. This framing device also serves as a clever way to set up each woman to tell their story and, of course, to sing. Fittingly, the most dominant of the divas, late 19th century prima donna Adelina Patti (Chelsea Beatty), who after a stint as an American child protégé became an international rock star of sorts, opens with a gorgeous rendition of “Sempre Libera” from La Traviata."
- Mike Hoban for Theater Mirror
Photo by Daniel J. van Ackere
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
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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 |
Photo by Ball Square Films
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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
Photo by Lu Zang
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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 |
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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 |
Photo by Patrick Campbell
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Photo by Cayuga Strategies
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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 |
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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 |
Photo by Cayuga Strategies
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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
Photo by Justin J. Bates
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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 |
