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Korliss Uecker

  • Soprano


Korliss Uecker press reviews

"Also noteworthy was the bright, supple soprano of Korliss Uecker. In the 'Laughing Song' from Strauss' 'Die Fledermaus,' Uecker doled out masterly comic acting skills. She never overplayed any of the comedy here, instead letting her voice take every lead. In the bewitching 'Song to the Moon,' from Dvorak's 'Rusalka,' Uecker proved her range with heartfelt and dramatic singing." Read More...— Edward Ortiz, Sacramento BeeRelated Link
"Korliss Uecker brought a sweet tone and sharp focus to Susanna, and like Mr. Furlanetto, she overdid the role's comic touches so rarely that when an opportunity presented itself - her manic attempt to get the Countess's attention in the second act, for example - it wasn't lost in a sea of cuteness. She also contributed a beautifully flowing account of 'Deh vieni, non tardar' in the last act." [LE NOZZE DI FIGARO - Metropolitan Opera]— New York Times
"Shining in the first-class cast ... [was] Korliss Uecker as Donna Elvira..... Uecker beautifully performed the aria 'Mi tradi quell'alma ingrate,' expressing rage but also compassion for Don Giovanni. By contrasting ternary and rondo forms, Mozart reinforces Donna Elvira's return to the same position of love and dependency, a predicament reinforced in Uecker's interpretation." [DON GIOVANNI - Hawaii Opera Theatre]— Valeria Wenderoth, Honolulu Star-Bulletin
"Korliss Uecker, new to the role of Susanna this season, sang with grace and bloom and made all the right witty and charming moves." [LE NOZZE DI FIGARO - Metropolitan Opera]— Opera News
"Korliss Uecker sang Marzelline, replacing ... on short notice, apparently. Her wonderful lyric soprano voice was a model of vocal purity and richness, and she filled the hall with sound with apparent ease. The warmth of her singing was remarkable in every respect, making one wish she'd tackled the title role." [FIDELIO in CONCERT - Charlotte Symphony]— Classical Voice North Carolina
"As Figaro's equally crafty intended, Susanna, Korliss Uecker proved disarming. She shaped 'Deh vieni non tardar' in a particularly gleaming tone and elegant nuance, and put a bright spin on her comic scenes. One test for any Susanna comes in the middle of Act III, after all the confusion over Figaro's parentage, when, in two could-only-be-Mozart phrases of gentle recitative, she reveals the depth of her contentment. Uecker passed that test beautifully." [LE NOZZE DI FIGARO - Baltimore Opera]— Baltimore Sun
"The great and also radiant soprano Korliss Uecker portrayed a crystalline Mabel ... she delivered all the coloratura required by Sullivan's score with grace and charm. Her comedic act[ing] and her theatrical presence were flawless." [PIRATES OF PENZANCE - Hawaii Opera]— Honolulu Star Bulletin
"[Korliss] Uecker was amazing. She commanded every one of those horribly demanding rage arias, with their jagged melodic leaps, extreme dynamics, and technical fireworks. Her voice, like her face, was sweeter than the part, a part that in the wrong throat can become shrewish. With Uecker, Donna Elvira was a sympathetic character: it was precisely Uecker's sweetness that condemned Don Giovanni when he refused the redemption she offered." [DON GIOVANNI - Hawaii Opera Theatre]— Ruth Bingham, Honolulu Advertiser