Ariodante with the Princeton Festival
“Mezzo-soprano Rebecca Ringle lists a performance repertory crossing both soprano and mezzo roles ranging from Mozart to Puccini to Wagner. With a lovely rich color to her voice, Ms. Ringle seemed perfectly at home in both the male costume and the extensive coloratura required by the role. She moved well across the lower register of the role, and being blessed with high cheekbones, she was able to maintain a unique and unusually clear forward sound. The audience was particularly mesmerized by "Scherza infida," her plaintive second act aria."
- Princeton Town Topics. June 2010
“The undisputed star of the production is Rebecca Ringle in the trouser role of Ariodante. With supple voice she comfortably negotiated all the Everests that Handel created. Moreover, with her flexible voice, she covered a landscape of emotion from sunniness in Act One to desolation in Act Two. The vigor and fullness of her low register was particularly impressive.”
- U.S. 1 News. June 2010
“Rebecca Ringle in the title role, delivered words with such gravity as to convey a penetrating overall sense of any given aria.”
- Philadelphia Inquirer. June 2010
Bach Mattheus Passion with Richmond Symphony
“Six featured soloists handled their parts with grace and style... alto Rebecca Ringle had a rich, full voice that was easy to follow.”
- Richmond Times-Dispatch, April 2009
De Falla Siete canciones populares españolas at Weill Recital Hall
“Harpists Mariko Anraku of the Met, Jessica Zhou from the City Opera, and the Philharmonic's Nancy Allen sallied elegantly through a delightful assortment of uncommon music for two and three harps, as well as a familiar work featuring mezzo-soprano Rebecca Ringle.
In fact, it was Ringle's participation in Manuel De Falla's Siete canciones populares españolas in a transcription by legendary harpist Carlos Salzedo that added extra spice to an unusual musicale. Ms Ringle is currently making her way through the operatic circuits, notably as a Valkyrie, but her true calling may be as a recitalist. She has an unusual claret timbre that retains its erotic resin from bottom to top. Blessed with a commanding stage presence, she communicated the full range of moods in the seven songs.”
-Operacast.com February 2009
Suzuki in Madama Butterfly
“The finest supporting performances belong to Ringle, who wraps her rich mezzo-soprano around the role of the servant who sees through the sham but must abide by her mistress' wishes, and Dennis Petersen of Minneapolis, playing the unctuous marriage broker Goro... Both are captivating at every turn.”
-Cedar Rapids Gazette, January 2009
Lola in Cavalleria Rusticana
“Rebecca Ringle was a sassy, gum-snapping Lola dressed in red from hat to shoes, and her richly focused voice rang out nicely.”
- Judith Malafronte, Opera News, December 2007.
“Lola in "Cavalleria" and Nedda in "Pagliacci" -- both objects of desire and catalysts of tragedy -- were floozy-like (chewing gum and smoking cigarettes, their bright-colored clothes set against a monochromatic landscape)...Rebecca Ringle made a sultry Lola.”
- Heidi Waleson, The Wall Street Journal, October 2007
“Rebecca Ringle sang sweetly as a gum-chewing Lola who returned fleetingly in the Pagliacci mob (ah, continuity).”
- Martin Bernheimer, The Financial Times (London) October 2007
“Helpfully, the casts looked the part...Rebecca Ringle used Lola's limited exposure to her advantage.”
- Bernard Holland, The New York Times, October 2007
“In an arresting twist, Alfio's wife, Lola, turns up in "Pagliacci." Clearly, her marriage is at an end, and she is seen carrying suitcases amid the acting troupe's prospective audience, apparently leaving town. It is an ingenious idea to stress the operas' parallels...Another fine mezzo, Rebecca Ringle, excelled in the smaller role of Lola.”
- George Loomis, The New York Sun, October 2007
“Rebecca Ringle was a promising Lola, clad in red and packing a huge instrument which, unfortunately, this role doesn’t show off.”
- Countercritic.com. October 2007
copyright © 2009 Rebecca Ringle
