Die Königin der Nacht, Hamburger Kammeroper, Photo: Dr. Joachim Flügel
As the Queen of the Night, Hamburger Kammeroper: Juliet Petrus, ganz in Schwarz und funkelnd im düsteren Bühnenlicht, begeisterte ganz besonders in der großen und schwierigen Arie der Königin der Nacht „Der Hölle Rache…“ und riß das Publikum zu frenetischem Szenenapplaus und „Bravo“- Rufen hin…. Minutenlange Begeisterung für ihre gesangliche Leistung!
Juliet Petrus, all in black and sparkling in the gloomy stage light, was particularly enthusiastic in the great and difficult aria of the Queen of the Night "Hell's Revenge ..." and tore the audience to frenetic applause and "Bravo" calls .... Minute-long enthusiasm for her vocal performance!
Marion Nevoigt / Red. DAS OPERNMAGAZIN, opernmagazin.de
Juliet Petrus, all in black and sparkling in the gloomy stage light, was particularly enthusiastic in the great and difficult aria of the Queen of the Night "Hell's Revenge ..." and tore the audience to frenetic applause and "Bravo" calls .... Minute-long enthusiasm for her vocal performance!
Marion Nevoigt / Red. DAS OPERNMAGAZIN, opernmagazin.de
 Hippolyte et Aricie (Rameau), Ensemble OrQuesta, Arcola Theatre, London, Grimeborn 2019; Kieran White, Hippolyte
Aricie, Hippolyte et Aricie, Arcola Theatre, Ensemble OrQuesta, Grimeborn 2019
'Aricie was the very impressive Juliet Petrus, the clarity and stability of her voice being just the thing for negotiating the complex French ornaments,' Andrew Benson-Wilson, Early Music Reviews, andrewbensonwilson.org 'Rameau’s score contains a huge amount of music that is simply beautiful. Elegant and graceful, it is also capable of conveying the deepest of emotions. Take, for example, Aricie’s Act II aria ‘Temple sacré, séjour tranquille’, sung in the Temple of Diana. Its simplicity of utterance belies the sophistication of its melodic material. The singer taking the role of Aricie was the astonishing American-Italian soprano Juliet Petrus, who exudes a purity, both vocal and dramatically, entirely apposite to the role. (The programme booklet tells us, interestingly, that she is “the leading Western interpreter of contemporary Chinese vocal music.”)...'The combination of [Kieran] White with the Aricie of Juliet Petrus was perfect casting; one could really invest in their love, their movements often choreographed as mirror images. Their voices blended beautifully in the tenderest, love-drenched moments,' Colin Clarke, seenandheard-international.com 'As Aricie, Juliet Petrus is sweet-toned and exquisitely precise in her ornamentation,' The Stage, Yehuda Shapiro  Galatea, Union Avenue Opera (Marc Schapman, Acis)
Galatea, Acis and Galatea, Union Avenue Opera, St. Louis: 'It's a tragic little tale of sorts, and Juliet Petrus (Galatea) has a voice like glass, so clear and distinct that the text isn't needed when she's singing. She makes a splendid sea nymph, and she's nicely paired with Marc Schapman, whose splendid tenor is put to the test with this score.' Chris Gibson, St. Louis Broadway World  Mrs. Nordstrom, Michigan Opera Theater
Mrs. Nordstrom, A Little Night Music, Michigan Opera Theatre:
'Soprano Juliet Petrus exemplified the aesthetic required for the quintet. As Mrs. Nordstrom, Petrus featured a clear, gorgeous, vocal presence, and a graceful physicality perfect for the waltz featured so prominently in this work.' Robert Drake, Operaticus.com |
 I Sing Beijing, Lincoln Center Debut
Carmina Burana, St. Louis Symphony, St. Louis, MO:
'The three soloists this week all have solid opera credentials. So, as you might expect, their performances were acted as well as they were sung—and they were sung quite well indeed. Soprano Juliet Petrus captured all the barely suppressed eroticism of "Amor volat undique" ("Love flies everywhere") and "Stetit puella." That final "ah" is sung to a long, melismatic line suggesting an ecstatic release, and that's exactly the way Ms. Petrus delivered it. She also managed that absurdly difficult upward glissando in "Dulcissime" with ease.' Chuck Lavazzi, KDHW.org I Sing Beijing US Premiere at Alice Tully Hall, Lincoln Center, New York: 'Juliet Petrus sang Hu Tingjiang’s arrangement of Mayila Variations with tremendous clarity and improvisatory zest, with her vocalized laughter a particular treat and an impressive in-the-moment ending,' David Pearson, icareifyoulisten.com, Classical Music Blog 'Juliet Petrus, a soprano from Michigan, delighted the audience with the vocal acrobatics of the Kazakh folksong, Mayila.' Corrie Dosh, Beijing Review 
Königin der Nacht, Austin Lyric Opera
Queen of the Night, Die Zauberflöte, Austin Lyric Opera
'On the other end of the spectrum, we have the main event. Lynyrd Skynyrd has ‘Freebird,’ Ray Charles had ‘Georgia,’ and Frank Sinatra had ‘New York, New York.’ That is what sells tickets. In opera, a good example of a ticket seller is ‘Nessun Dorma’ from Turandot, which ALO will perform later this season. In this performance, it is the daunting Queen of the Night aria 'Hell's vengeance boils in my heart.' Can Juliet Petrus meet expectations that go to the extreme top of the soprano vocal range? Hell yes, and then some!' Patrick Dixon, Austin Post  La Musica, L'Orfeo, Glimmerglass Opera
La Musica, L’Orfeo, Glimmerglass Opera:
'Juliet Petrus (La Musica) displayed a fine instrument and style,' Opera Magazine, UK 'The spirit of Music (Juliet Petrus) is especially arresting.' Post-Standard Critics, Syracuse.com 'The La Musica of soprano Juliet Petrus, dressed in a 20th-century bustier and 18th-century, wide-paniered skirt (slit in front to reveal skin-tight pants), sang a formidable prologue.' The Ithaca Journal, NY 'Soprano Juliet Petrus was excellent as La Musica.' The Ithaca Times, NY |
As Eurydice in Orpheus in the Underworld, Glimmerglass Opera:
'[The original] Eurydice, was replaced by Juliet Petrus, one of the ‘Young American Artists’ in residence at Glimmerglass during the summer. To have such an accomplished singer as Petrus in reserve, one whose technique and range are striking, speaks volumes about the depth of the talent pool brought to Cooperstown. She carried off the role winningly and with considerable comic flair.' Post-Standard Critics, Syracuse.com
'Excellent musical performances abounded in this production, with extra acclaim for soprano Juliet Petrus, one of the season’s Young American Artists Program members, who stepped in to sing the taxing role of Eurydice with a beautiful command of voice and character.' Metroland.net
'Soprano Juliet Petrus...capably filled the role with mayhem and vocal flourishes. Petrus also showed she can think on her feet, dispatching with an errant wig in one of the final scenes.' Albany Times Union
'Petrus thrilled with Eurydice's torch singer death aria during her descent to the underworld.' Oneida Dispatch, NY
'On the other hand, Eurydice has some mighty coloratura to carry off. Soprano Juliet Petrus, from the company's Young American Artists Program...performed with great verve and assurance...she sang with full voice and proved to have a marvelous sense of comic timing.' Ithaca Times, NY
'[The original] Eurydice, was replaced by Juliet Petrus, one of the ‘Young American Artists’ in residence at Glimmerglass during the summer. To have such an accomplished singer as Petrus in reserve, one whose technique and range are striking, speaks volumes about the depth of the talent pool brought to Cooperstown. She carried off the role winningly and with considerable comic flair.' Post-Standard Critics, Syracuse.com
'Excellent musical performances abounded in this production, with extra acclaim for soprano Juliet Petrus, one of the season’s Young American Artists Program members, who stepped in to sing the taxing role of Eurydice with a beautiful command of voice and character.' Metroland.net
'Soprano Juliet Petrus...capably filled the role with mayhem and vocal flourishes. Petrus also showed she can think on her feet, dispatching with an errant wig in one of the final scenes.' Albany Times Union
'Petrus thrilled with Eurydice's torch singer death aria during her descent to the underworld.' Oneida Dispatch, NY
'On the other hand, Eurydice has some mighty coloratura to carry off. Soprano Juliet Petrus, from the company's Young American Artists Program...performed with great verve and assurance...she sang with full voice and proved to have a marvelous sense of comic timing.' Ithaca Times, NY