Madame Maude P. Dilly
“Rebecca Carr captures the frustrated Madame Maude P. Dilly with her amazing facial expressions and comedic timing.”
– NYTheaterGuide.com
"Rebecca Carr makes the grand dame aptly obnoxious, and then reappears as two nightmarish night club singers."
- Ithaca.com
"Two older players take more than their share of fun in multiple roles. Equaling (powerhouse baritone, David Studwell), is Rebecca Carr in three roles, starting with the boozing music teacher who bellows, “Sex and art don’t mix, otherwise I would have gone right to the top.”
– SyracuseNewTimes.com
– NYTheaterGuide.com
"Rebecca Carr makes the grand dame aptly obnoxious, and then reappears as two nightmarish night club singers."
- Ithaca.com
"Two older players take more than their share of fun in multiple roles. Equaling (powerhouse baritone, David Studwell), is Rebecca Carr in three roles, starting with the boozing music teacher who bellows, “Sex and art don’t mix, otherwise I would have gone right to the top.”
– SyracuseNewTimes.com
Chrysothemis
“Rebecca Carr sang radiantly in the role of Elektra’s sister, Chrysothemis, her virginal blond beauty a perfect foil for Elektra’s madness”
– Opera Now Magazine, UK
“Rebecca Carr’s shining Chrysothemis provided a fervent contrast to her twisted sister.”
– Opera Magazine, UK
– Opera Now Magazine, UK
“Rebecca Carr’s shining Chrysothemis provided a fervent contrast to her twisted sister.”
– Opera Magazine, UK
Susannah
“Rebecca C. Carr makes a wonderful Susannah. Singing and acting sensitively, she charts the girl’s transformation from innocence to bitterness with heartfelt urgency. Carr’s pure, focused soprano soars through Susannah’s vocal lines. She floats lovely high pianissimo’s, but her voice also opens up in full-throated climaxes.”
– Gannette News Service
– Gannette News Service
Marie
"Rebecca C. Carr performed (Marie in The Bartered Bride) capably. The soprano sang her big aria with firm control.”
– Gannette News Service
– Gannette News Service
Violetta
"Rebecca Carr made a touching Violetta. Her portrayal grew in stature as the evening proceeded. Carr sang brilliantly in the party scene in the first act. Her bright-toned soprano took on poignant overtones in the duet with Alfredo's stern father in act two. She touchingly suggested Violetta's joy at her reunion with Alfredo and then conveyed the anguish of the death scene."
– Gannette News Service
– Gannette News Service
Donna Anna
"Rebecca C.. Carr sang Donna Anna, very womanly in her gestures and movement, vocally grand and expresssive.”
– Böblinger Bote, Böblingen
"A remarkable Donna Anna was portrayed by Rebecca C. Carr.”
– Provençal, Aix-en-Provence, France
– Böblinger Bote, Böblingen
"A remarkable Donna Anna was portrayed by Rebecca C. Carr.”
– Provençal, Aix-en-Provence, France
Operetta Roles
"Rebecca Carr played the role of (Countess Maritza) the title character. She looked glamorous and sounded sumptuous, as she has in earlier roles."
– Broad Street Review
"In the key role of Rosalinde, Rebecca Carr delivered the big notes with her usual power. She was in fine form in her show-stopping look-at-what-I-can-do aria in the second act."
– Philadelphia Weekly
"Rebecca C. Carr makes a strong Rosalinde. Carr has a big, vibrant soprano voice that soars over the ensembles."
– Gannette News Service
– Broad Street Review
"In the key role of Rosalinde, Rebecca Carr delivered the big notes with her usual power. She was in fine form in her show-stopping look-at-what-I-can-do aria in the second act."
– Philadelphia Weekly
"Rebecca C. Carr makes a strong Rosalinde. Carr has a big, vibrant soprano voice that soars over the ensembles."
– Gannette News Service
"Rebecca Carr, a lovely blonde soprano with a radiant smile, made an auspicious debut with the (Ocean City) Pops. "Come scoglio" crackled with dramatic intensity and Carr gave the proper frivolity to "Art is Calling for Me." Her interpretation (of The Merry Widow's "Vilia") communicated very well, and she made good use of her soaring upper register."
– Ocean City (NJ) Sentinel
– Ocean City (NJ) Sentinel
"Soprano Rebecca C. Carr brought the whole concert to a grand finish with one of those operatic outbursts that would have left her surrounded by flying flowers if we still lived in the days when gentlemen wore boutonnieres in their lapels."
– Philadelphia Weekly
