Violetta in La Traviata

The San Francisco Chronicle
“It's still unusual to hear a Violetta take charge of an evening as completely and thrillingly as soprano Rebecca Davis…as soon as Davis began to sing, the sparks began to fly. Davis boasts a big, vibrant sound that she keeps under superb control, as well as pinpoint technical command and a wealth of vocal coloration. Her voice is muscular enough to tackle the most daunting displays of power, but tenderly lyrical in more intimate passages. All those attributes and more were brought into play for Violetta, a role that famously calls on a wide range of vocal techniques in a single evening. Davis coursed effortlessly through the cascading passagework of the Act 1 showpiece "Sempre libera," she conjured up a world of emotional depth in the delicate interactions of Act 2, and she concluded with a riveting account of "Addio del passato," Violetta's heartbreaking farewell to past pleasures." -Joshua Kosman

San Jose Mercury News
“There's one particular reason to see the new Festival Opera production, that would be soprano Rebecca Davis in the title role. As Violetta Valery, the consumptive courtesan of Giuseppe Verdi's evergreen melodrama, Davis anchors the production with a thrilling blend of dramatic focus and vocal splendor. Her soprano is large and well-supported, with radiant, gleaming top notes. She sang luxuriantly in Act I's "Ah, fors'e lui," and continued to project with beauty, precision and stamina throughout the evening." -Georgia Rowe

The Berkeley Daily Planet
“But the evening belongs most of all to Rebecca Davis, whose Violetta is wholly her own, both as sung and acted, a stunning rendition of one of the greatest soprano roles in the medium." -Ken Bullock

The Santa Barbara Independent
“As Violetta, Davis acted as well as she sang and delivered riveting accounts of each of her character’s crucial arias and duets. Davis consistently demonstrated the kind of commitment to La Traviata’s tragic narrative arc required to do justice to Verdi’s dramatic writing and did so while filling the Granada with cascades of glorious sound…Nevertheless, the heart of any La Traviata lies with the heroine in her journey to romantic oblivion, and thus a reviewer’s last words must return to praise of Davis, who embodied Violetta to perfection." -Charles Donelan

Ventura County Star
“Davis also grew in strength throughout the night, adding strong touches of drama to a voice that has an impressive range and much beauty." -Rita Moran

CASA Magazine
“ Soprano Rebecca Davis…..sang the tragic heroine, Violetta with finessed coloratura, embracing the tragic trajectory of the character. Haunting is merely one way to describe her powerful aria, Addio del passato, in the final act." -Robert F. Adams

Mimi in La Boheme

Casa Magazine
“Dramatic soprano Rebecca Davis, outstanding in last season’s production of La Traviata, delighted again as Mimi, providing a delicate performance of vocal power, even in the moments of soft-tone pianissimo. By turns mesmerizing and poignant, the deathbed scene duet from Mimì and Rodolfo, Sono andati? (“Have they gone?") was superbly sung in the final act by Ms. Davis." -Robert F. Adams

The Montecito Journal
“Soprano Rebecca Davis… captured the part of the tragic heroine, Mimi, to perfection" -Richard Mineards

The Santa Barbara News Press
“Rebecca Davis made for assured yet subtle ill-fated lovers, in confident, supple voice." –Josef Woodard

Ilia in Idomeneo

The San Francisco Chronicle
“The star of Tuesday's performance was soprano Rebecca Davis, who gave a magnificent performance as the captive - and love-struck - Trojan princess Ilia. Singing with vigor and precision, she gave voice to the character's emotional turmoil without stinting at all on the dynamism and grace of Mozart's writing." - Joshua Kosman

Opera News
“Soprano Rebecca Davis’ Ilia…was equally superb...exceptionally even and well-produced. Her luminous highs, notable for their purity and sweetness, cut straight to the opera’s emotional heart." -Jason Victor Serinus

The San Jose Classical Music Examiner
“Soprano Rebecca Davis’s opening number as Ilia, the imprisoned princess in love with her captor, set the bar very high in Tuesday night’s show. She sang with powerful abandon that seemed to spill over into the orchestra and fill the California Theater with a deep cry that supplied the entire first act with enough emotional quality it needed to captivate. Few moments in the opera matched the quality of those opening moments. - Beeri Moalem


Opera News
“Central to the performance’s success was the wonderfully sung and acted Tosca of Rebecca Davis. Quite beautiful, with eyes that darted, flirted and defied, Davis gave a complete portrayal of the role. It is no small feat to deliver such a credibly acted Tosca and voice one’s high notes with full, rounded tone."
-Jason Victor Serinus

The Mercury News
“The Tosca role..was sung by Rebecca Davis, a statuesque soprano with a voice that gives strong hints of the great divas who have tackled this dramatic role: think Maria Callas and Leontyne Price. Her splendid handling of the famous “Vissi d’arte" …She remained thoroughly in top form for the remainder of the show. “Tosca" gained a well-deserved standing ovation from the full house at the matinee with special affection showered on Davis’ stunning performance." -Mort Levine

The Opera Critic & Operaville
It’s a special time for Davis, who went directly from her OSJ residency to this summer’s Merola Program in San Francisco…Her Floria is downright ferocious, particularly in the dark, foreboding passages as Scarpia lures her into the trap of jealousy. She begins “Vissi d’arte" in a prone position and taps into her lyric side to produce a beautifully tiered three-step dynamic drop from the final top-note...The clincher was Davis’ leap from the parapets, which was purposeful and fearless, with a defiant look back at her pursuers." -Michael Vaughn

Magda in La Rondine

San Francisco Chronicle
“..But it did boast one true star in soprano Rebecca Davis, whose performance as Magda was a beguiling blend of temperament, charm and vocal presence. The role requires a singer who can encompass both the precisely calculated poise of Magda's carefree life in Act 1 and the more extravagantly emotional writing of Act 3, when she understands that her shadowy past threatens her only hope of happiness. In a potent and richly expressive turn, Davis covered all the bases." -Joshua Kosman
San Jose Mercury News
“The opening-night performance boasted some powerful singing, especially by soprano Rebecca Davis With her richly cultured voice, commanding and rosy-hued, Davis is Magda de Cevry, a banker's mistress — and the swallow who flies toward her "bright dreams" of true love… Through the decades, it's come down as popular wisdom that "La Rondine" has one hit tune: "Chi il bel sogno di Doretta," which happens early in the first act, and which Davis sang with striking beauty." –Richard Scheinen

SF Symphony Examiner
“Requiring supreme vocal control, “Doretta’s Dream" is one of Puccini's most moving tunes with a heart-rending pair of descending thirds, which stretch the upper range of the soprano voice to its very limits. If there were an instrument for measuring audience goose bumps, Rebecca Davis might well have broken it with her stunning rendition of this aria." -Eman Isadiar

Operaville and The Opera Critic
“Rebecca Davis went for the route that made her February Contessa Almaviva so touching, beginning with a tonal seed and growing it into a lovely, blossoming tree through the line. Davis's singing is an evening-length delight, at both extremes: the gem-like quiet of her Act 1 wishes for an evening out (working up her courage to escape her benefactor) or the unexpected power of her passages with her dream-lover, Ruggero." –Michael J. Vaughn

San Francisco Classical Voice
“Davis made a beguiling Magda — not only in Act 1’s “Chi il bel sogno," which she sang with warmth, assurance, and pure, bright tone. The soprano continued to build on that first aria throughout the evening, creating a complex character torn by her desire for love and security. Her vocalism throughout was an enchanting blend of steely strength and passionate yearning." –Georgia Rowe

The Countess in Le Nozze di Figaro

Stark Silver Creek :All Things West Coast
“But the stage was suddenly taken over by the entrance of Rebecca Davis, singing the role of Countess Almaviva. Davis’ enormous voice, with tremendous dynamic control (from full-throttle fortes to soft but in-control sotto voce) literally blew the rest of the cast off the stage. Act Two opens with a cavatina duet between the Countess and Susanna, in which the Countess sings a memorable and quotable line: “That is the way of modern husbands: on principle unfaithful, by nature fickle, and by pride all jealous. But if Figaro loves you … Only he could." This produced quite a chuckle from the audience, and fairly summarizes many of the themes of the opera. This is also when Rebecca Davis’ control most impressed this reviewer – there were many sections where she was able to transition from forte to sotto voce with impressive technical control and dramatic effect….By far the highlight of the entire evening was Rebecca Davis’ (the Countess’) performance of the aria "Dove sono i bei momenti" (“Where are the beautiful moments". Davis deservedly received the loudest and longest ovation during the entire opera, and also during the curtain calls. Opera fans – take note – Davis will be going places!" -Eugene Lee

San Jose Mercury News “Saturday, they shook the California to the rafters when soprano Rebecca Davis, in the role of the Countess Rosina, sang the famous lament "Dove sono." Davis's singing was majestic, delicate, thrilling to the bone — and only one of many such moments during the night… her voice velvety as crème fraîche" –Richard Scheinen

Operaville and the Opera Critic “Soprano Rebecca Davis projects her nobility with graceful features and eyes that seem to radiate from the stage. She takes one of the most pathos-equipped characters in opera (especially for those who know "The Barber of Seville") and delivers in spades, employing an impressive dynamic range - from fill-the-hall forte to lean-forward piano - to shape the tender phrases of "Porgi Amor" and "Dove sono." Then, just as you're feeling gorged with music, she pairs with Susanna for "Che soave zeffiretto," the most delicious female harmonies this side of "Lakme." -Michael J. Vaughn

San Jose Classical Music Examiner “But it was Soprano Rebecca Davis who stole the show as the countess in her performance of “Dove Sono" suddenly conveying heartbreak in the midst of the tomfoolery that surrounds it. Davis’ voice is remarkably smooth and large, the most impressive display of the evening. She has a bright musical future." -Beeri Moalem

Micaela in Carmen

The Mercury News
“But most passionate of all, the real star of the show, was Soprano Rebecca Davis, as Micaela, the good girl from Don Jose’s hometown-and the woman he should be courting. Saturday, Davis had it all; lustrous colors, secure top-to-bottom singing with penetrating power and true operatic emotion. She was arresting." -Richard Scheinen

Fiordiligi in Cosi fan tutte

Mercury News
“Handed one of the most challenging arias for a dramatic soprano in pre-Wagnerian opera…she was arresting; with clear, somersaulting lines, ringing high notes. And she is a strong dramatic actress: Watching ironclad Fiordiligi melt away was a blast." -Richard Scheinen

Adina in L’elisir d’amore

San Mateo Daily Journal
“As Adina, Rebecca Davis has one of the richest soprano voices I have ever heard. Her upper register is to die for. Absolutely gorgeous!"

The Independent
“Top honors for this reviewer went to Rebecca Davis, the effervescent soprano who obviously deserved the attention of every man in the house-on or off stage. Being beautiful never hurt a singer, and being able to throw off cascades of coloratura runs with a smile and wink is completely captivating. Especially since she also sang gorgeous legato lines to match the tenor’s lyric style. ‘Bricconcella,’ Dulcamara calls her, as she slyly demonstrates that her personal charms for attracting men are far more powerful than his ‘magic elixir’."

Opera News
“Less cunning than girlishly innocent, Rebecca Davis sang with beauty and a secure high extension."

Tatyana in Eugene Onegin

The Mercury News
“Saturday’s bright light was soprano Rebecca Davis…Making her debut, she showed off a supple, alabaster voice. She sang with power and ease, and, as Tatyana, the opera’s tragically love-struck heroine, showed herself to be a visceral actress with insight and presence." -Richard Scheinen