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Deborah Lynn Cole - Lyric coloratura
   
   
   
 
   

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(Selection 2005/2004/2003)
Wiesbadener Kurier (08. Aug. 2005): L'Opera Piccola with Bizet's "Carmen"
  [...] This performance featured the return of Deborah Lynn Cole, a former and long-time member of the Wiesbaden opera ensemble. Her radiant silvery soprano lent a touching dimension to the character of Micaëla. [...]
Wiesbadener Kurier (18. March 2005): Korea KBS Symphony Orchestra in the Kurhaus
  [...] Deborah Lynn Cole sang the Traviata aria (“Sempre libera”) with crystal clear, gracefully articulated coloratura. [...]
Wetterauer Zeitung (14. Jan. 2005): New years concert in Karben
  [...] The special musical attraction of this concert was provided by the wonderful voice of the soloist, Deborah Lynn Cole, who shone with her precise and radiant coloratura… Her voice, pure and clear as a bell, has captured the hearts of audiences all over the world. [...]
Frankfurter Allgemeine Zeitung (19. Oct. 2004): "Heitere Muse" concert series at the Alten Oper Frankfurt
  [...] But above all others, the vocal technique of Deborah Lynn Cole, who replaced Elena Alexandra Fink on short notice, was the most impressive, the soprano, who is well-known in the Rhine-Main area mastered the perilous coloratura of the Aria-Bravura of Olympia in “The Tales of Hoffmann” with ease and wit. [...]
Wiesbadener Tagblatt (02. Aug. 2004): "I Pagliacci" premiere with L’Opera Piccola at Burg Hohenstein
  [...] At long last once again we were treated to Deborah Lynn Cole in a leading role. As Nedda she proved to be in superb vocal form, her acting enhanced by her elegant stage-presence.
Fuldaer Zeitung/Hünfelder Zeitung/Kinzigtal-Nachrichten/Schlitzer Bote (03. July 2004): Opening of the organ concert series in Nieder-Mooser
  [...] Credit for the great success of this evening must also be given to the superb vocal soloists. The wonderfully expressive voice of Deborah Lynn Cole proved effortlessly equal to the challenges of her bravura arias and impressed us in "Una voce poco fa" not only with bell-like coloratura, but also with substantial tones in the lower registers, and with her poignant rendition of "O mio babbino caro" from Puccini she developed an intense melancholy which she continued in Verdi's "È strano! è strano" where it grew to the point of highly-moving dramatic expression. [...]
Wiesbadener Tagblatt (02. March 2004): Liederabend from Copland to Gershwin in"thalhaus"
  [...] Cole's supple vocal technique produced an elegantly floating silvery tone ...
Altmark-Zeitung (05.01.2004): New years concert with the Halleschen Staatsphilharmonie
  [...] ... The soprano,Cole, won the hearts of the audience. Her Johann Strauss operetta arias, as well as her Paul Lincke Lieder were marked by her radiantly warm coloratura, and a smiling, friendly portrayal that went right to the heart. [...]
Nassauische Neue Presse (30. Dec. 2003): New years eve concert with the Johann-Strauß-Orchester Frankfurt
  [...] Deborah Lynn Cole possesses a well-managed, lithe soprano voice which balances power in the heights with smoothness in the depths of her range. Especially operetta seems to have been written for her voice. She captures the necessary lightness in an enchanting manner while bringing never-failing expression to the cantilena, for example in "Christel von der Post" from Der Vogelhändler by Carl Zeller, or the famous "Vilja Song" from Franz Lehar's The Merry Widow. [...]
Reutlinger Nachrichten (18. Dec. 2003): Opera Gala with the Württembergischen Philharmonie
  [...] In contrast to her more famous colleagues, Deborah Lynn Cole had no need to hide vocal or artistic deficits behind the label "World Star" - she showed that she has real talent. [...]
Weilburger Tagblatt (09. Dec. 2003): Advent concert in the Probbacher parish church
  [...] Deborah Lynn Cole enchanted the listeners with her slivery-clear, yet intensely expressive voice ... With the arias "Et incarnatus est" from Wolfgang Amadeus Mozart's Mass in C-minor and "Cantique de Noël" from Adolph Adam, the guest star, Deborah Lynn Cole, enthralled the audience and filled the church with a radiant tonal carpet. [...]
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