Recital with Kyle van Schoonhoven, Tenor

George London Foundation

“The plush tone that Melton brought to Isolde’s Narrative and Curse and the Bridal Scene from Lohengrin was a definite benefit, but so was her interpretive savvy. Her phrasing was varied and shapely, and she was consistently engaged with not just the vocal requirements of each moment, but of its place within a dramatic narrative. “Er sah mire in die Augen,” the Narrative’s crucial phrase, was beautifully, tenderly sung. Debussy’s Trois Chansons de Bilitis, her unexpected choice for an opening set, demonstrated musicality and thorough preparation. She sang slightly under pitch in “Kosende Wellen,” the duet from Lehar’s Der Zarewitsch that served as a dual encore, but this registered less as a glitch than an interpretive tack, adding an insinuating charm reminiscent of Régine Crespin.”
-Fred Cohn, Opera News

“Heidi Melton chose to open with Debussy’s Trois Chansons de Bilitis. The songs rest in the rich, expressive middle of her voice, which was easy on the ear. She imbued the erotically charged songs with mystery and intimacy.... Then came the Wagner. Melton recently essayed Brünnhilde in a new production of the Ring in Karlsruhe and Isolde under the baton of Valery Gergiev with the Mariinsky Orchestra. It is easy to see why she is making waves. ‘Isolde’s Narrative and Curse’ not only displayed her temperament, but again the especially strong and vibrant middle of her voice, molten metal turned to sound. She tossed out Isolde’s high notes with unbridled fury, never missing the mark…”
-Rick Perdian, Seen and Heard International