Opera Theatre of Saint Louis' La Traviata

"Here it is so achingly beautiful, you'll be wiping a tear from your eye long before Violetta ascends to her reward...For this, blame Sydney Mancasola...(who) with this performance emerges as a full-blown star. Her voice is so pure and so powerful it could persuade angels to switch sides. But she doesn't rest on vocal technique. She absolutely inhabits the part, making a completely convincing Violetta. Even when the libretto doesn't really give much explanation for Violetta's various changes of heart, this talented performer pulls you along...It's a marvelous trick, being able to convincingly portray terrible weakness even while your voice remains strong. Mancasola pulls it off"

SARAH FENSKE, RIVERFRONT TIMES

 

"Since Racette has brought multiple versions of Violetta to the stage it should come as no surprise that she has taken great care in turning the role over to Sydney Mancasola, a promising and powerful soprano whose decimating turn in the lead role will undoubtedly propel her to greater heights."

ROB LEVY, REVIEWSTL.COM

 

"Within this beautiful frame we are treated to some astonishing voices. Sydney Mancasola brings to the role of Violetta not only a stellar voice, but also the stunning beauty that Violetta should have. She deftly manages the coloratura vocal acrobatics that the role demands. She shines like a silver thread above the chorus. And how can that slender body contain the power she brings to those perfect high-notes?"

STEVE CALLAHAN, BROADWAYWORLD.COM

 

"Sydney Mancasola not only looks stunning as the free-spirited Violetta but also shapes her wonderful soprano around Verdi’s soaring arias for his leading lady. She also displays a strong chemistry with Geoffrey Agpalo, a tenor who shows conviction in the part of the devoted young lover Alfredo as well as demonstrating his own musical talent in the role. Both performers offer convincing portrayals of opposites attracting.

MARK BRETZ, LADUE NEWS

 

 Soprano Sydney Mancasola is beautiful and slender, with a true and well-produced instrument. Sympathetic as the doomed courtesan, she brought out Violetta’s strength as well as her vulnerabilities in a well-rounded performance."

SARAH BRYAN MILLER, ST LOUIS POST-DISPATCH

Sydney Mancasola
English National Opera's Rigoletto

“Mancasola, with her flawless coloratura and dreamy trills, gives one of the evening’s great performances.”

TIM ASHLEY, THE GUARDIAN

 

“Only Sydney Mancasola is in any way special as Gilda. The finest actor of the three, she is radiant and glittering in the more stratospheric writing.”

DAVID GUTMAN, THE STAGE

 

“Sydney Mancasola brings a shyly glinting soprano to Gilda.” 

JOHN ALLISON, THE TELEGRAPH

 

“The unforced grace with which Sydney Mancasola delivers Gilda’s arias is a delight.”

MICHAEL CHURCH, THE INDEPENDENT

Sydney Mancasola
Des Moines Metro Opera's Manon

"...Massenet’s Manon was graced by a brace of principals who displayed extraordinary dramatic commitment. Sydney Mancasola was an enchanting Manon, her soprano radiant and glittering in the display writing, and offering a surprising dose of lyric weight in mid-range."

MARK THOMAS KETTERSON, OPERA NEWS

 

"Is this the birth of a star? Sydney Mancasola comes to Des Moines between assignments in Berlin and London, playing the title character in "Manon," one of opera's great tragic heroines. She commands the stage on the strength of her voice alone, a soprano that, even as it soars, suggests midnight chocolate and cabernet.

What matters most, though, is her range as an actor. Mancasola wrings terrific feeling out of a face that, by itself, can set folks staring. Her features don't just light up or darken, but also add shades of innocence or sophistication. Is this a star? In any case, it's the biggest 'wow' in a breathtaking show." 

JOHN DOMINI, DMCITY VIEW

 

"It has to be said that Sydney Mancasola was luminous in the title role. She sports a secure, silvery soprano of enormous flexibility, wedded to an unfaltering musicality. There is a generous dash of humanity in her portrayal and she is possessed of a charismatic presence in her well-rounded assumption of a richly complex personality." 

JAMES SOHRE, OPERA TODAY

 

"And wait till you see soprano Sydney Mancasola's magnificent portrayal of Manon herself, one of the most difficult of all French heroines and one of the most rewarding for a great singing actress. Mancasola's gorgeous voice has all the dazzling technical agility that she first demonstrated here two seasons ago in Rossini's "Count Ory." and in addition all the strength and subtlety needed for Manon's varied and supremely passionate emotions, whether innocent or sentimental, or commanding for seductive…or pathetic and remorseful."

BRUCE CARR, DES MOINES REGISTER

Sydney Mancasola
Komische Opera Berlin's Giulio Cesare

"As Cleopatra, American soprano Sydney Mancasola was in excellent form both acting and vocally. …I relished her secure, fluid, highly attractive vocal….this evening's performance was her international debut, her role debut as Cleopatra, and her first ever performance of an opera by Handel, which makes her achievement in such a challenging role even more remarkable." 

MICHAEL COOKSON, SEEN AND HEARD INTERNATIONAL

Sydney Mancasola
Des Moines Metro Opera's Le Comte Ory

"…rising star Sydney Mancasola offered cascades of spot-on vocalizing as the Countess Adele. The silvery soprano seemed to gain in heft after her spectacularly sung entrance aria, and her immaculate coloratura was matched by her poised stage presence. In addition to meeting every challenge of some of Rossini's most difficult ornamentations, Ms. Mancasola admirably acted with her voice which, in a comedy, is to say she found myriad ways to be funny. The inspired, heaving sobs that she interjected into her "weeping" moments were worthy of Carol Burnett. This was just one of many memorable vocal effects. Having recently seen the uniquely gifted Cecilia Bartoli in this punishing role, I can say that Ms. Mancasola found an equally effective vocal identity as Adele, and lavished the part with dazzling pyrotechnics. 

JAMES SOHRE, OPERA TODAY

 

Sydney Mancasola
Palm Beach Opera's La fille du Régiment

"Sydney Mancasola's Marie was a slim, petite hoyden that emanated the charm that makes her character so beloved. Her buoyant personality matched her lovely voice as she easily moved from the boisterous "Chacun le wait" and the lesson scene trio to the deeply felt "Il faut partir" and (especially) "Par le rang""

KARL W. HESSER, OPERA NEWS

Sydney Mancasola
Opera Theatre of Saint Louis' La Rondine

"Magda's maid, Lisette, is a delightful role. Sydney Mancasola sings Lisette, and she nearly stole the show for me. Her performance is strong, bright and sassy - filled with enormous confidence. Her voice is sweet and clear and her diction superb." 

STEVEN CALLAHAN, BROADWAY WORLD

 

Sydney Mancasola
Florida Grand Opera's Les pêcheurs de perles

"As Leila, the woman with whom both men are in love, the young American soprano Sydney Mancasola, a Grand Finals winner of the 2013 Metropolitan Opera National Council Auditions, gave a full-voiced, committed performance. She adroitly and elegantly handled the complex coloratura of “O, dieu Brahma,” never letting the difficult runs and ornaments interfere with the aria’s lyricism.

Throughout, she sang with a rich, focused, gleaming voice. But more than that, she showed a gift for infusing the character’s emotion into every moment, her voice turning urgent and fearful as she recalls the terror of an angry mob bursting into her house when she was a child, or when her voice radiates gladness as she realizes Nadir is nearby. She made the most of every moment, singing with a sorrowful intimacy as she handed one of the villagers her necklace before what she believed would be her execution."

DAVID FLESHLER, SOUTH FLORIDA CLASSICAL REVIEW

 

"Californian Sydney Mancasola sang a bewitchingly full-voiced and vocally agile Leila. A highly engaging singer and actress, Mancasola made us feel the priestess's panic in "J'étais encore infant" before she soared to coloratura heights in "Comme autrefois." 

JEAN–FRANÇOIS LEJEUNE, OPERA NEWS

 

Sydney Mancasola