Fiona

Mackay

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'The voices of Anne Sophie Duprels as Suor Angelica and Fiona Mackay as La Badessa are hardly identical in sound but both are possessed of thick, vibrant shades and some thrilling darker hues, meaning that they work very well together.'

Read more at http://www.musicomh.com/classical/reviews-classical/il-trittico-opera-holland-park-london#1fl8jo6CaSSUCiYj.99

 

''Fiona Mackay (La Badessa) Laura Woods (La Suora Zelatrice) and Kathryn Walker (La Maestra delle Novizie) made notable contributions to a strong ensemble performance.'

Seen and Heard International Review of Il Trittico

 

'The lively communication of the best of the singers, including Rozanna Madylus as the Child, Fiona Mackay as his Mother and a bereaved Dragonfly, and Ross Scanlon as that outraged Teapot.'

 The Guardian, Ravel L'Enfant et Les Sortilèges with the BBCSO April 2013

 

{Tatyana's] sister Olga was sharply observed and charmingly sung by Fiona Mackay

   The Telegraph, March 2013

 

Fiona Mackay is completely unaffected as a joyful, youthful, open hearted, life loving Olga - it seems to me to be so much more difficult to be convincingly happy on stage than sad, so I was particularly struck by her acting. She treats Tatyana as a playful younger sister really would, affectionately mocking character traits but with a profound love and acceptance of their differences. She dances with the peasants in Act I, is amused by Lensky's bullish poetics, and is shown to have already moved on from Lensky at the end of the duel scene - not a judgement, just a simple presentation of character... Olga is an extremely low lying mezzo part, really not ideal for most young mezzos, but Fiona Mackay did a good job at tackling its extreme tessitura.

  Capriccio blog on RAO's Eugene Onegin, March 2013

 

'...We were then introduced to a star of the evening in the form of mezzo soprano Fiona Mackay who on the evidence of her contribution to this concert has a distinguished career ahead of her. This was evident with her account of Schubert’s Ave Maria which she sang with easy resonance and confidence.  A major highlight of the evening was Aaron Copland’s remarkable In the Beginning to which Fiona Mackay contributed  in no small measure...Conductor David Moss is also a talented composer  as we heard with Three Psalm Fragments, the third having been composed especially for Fiona Mackay and which she and the choir sang beautifully.  '

Jubilee Concert, Oriana Singers, Dursley, March 2012, review Donald Collins.

 

 [Sara Lian Owen, Rachel Kelly, Fiona Mackay] 'three ladies struck Charlie’s Angels-type poses to the manner born and were a great ensemble' Classical source review of Die Zauberflote, Royal Academy Opera, March 2012

 

'especially impressive were the three women played by Sara Lian Owen, Rachel Kelly and Fiona Mackay respectively, clearly relishing their roles vocally and acting wise.' Bachtrack review of Die Zauberflote, Royal Academy Opera, March 2012.

 

 'the return of Bartley's body, to be laid out on the kitchen table, draws from Maurya the words 'They're all gone now, and there isn't anything more the sea can do to me', the approach of her own death apparent in every anguished note of Fiona Mackay's penetrating mezzo' Review in Opera magazine of Riders to the Sea, Royal Academy Opera, October 2011.