-DON PASQUALE | BERKSHIRE OPERA FESTIVAL-
As Norina, soprano Deanna Breiwick is ravishing in every sense of the word. Her powerful , athletic voice rang out effortlessly through the most elaborate coloratura passages.
-Berkshire Onstage
As Norina, soprano Deanna Breiwick won enormous applause after her first entrance aria, 'So anch'io la virtu magica', eclipsing any welcoming reception I've ever heard. Her sound is as if woven of pure silken gold. A coloratura to rank with the late Lily Pons: such flexibility of voice, such beauty of tone, and amazing ease in every difficult scale Donizetti writes. And she is a gorgeous beauty with a shapely figure!
-Berkshire Record
A spectacular singer... with a wildly unhinged soprano, she whisked up to the highest notes, trilled, rode down the scale and up over the top again.
-Concertonet
Norina was played by Deanna Breiwick whose stunning face and remarkable body were only two sides of her incredible talent; her voice was the surprise. She has a glorious, large, sustainable and well-controlled soprano voice that thrilled the audience.
- Berkshire Bright Focus
-CANDIDE | DES MOINES METRO OPERA-
Deanna Breiwick was a bubbly and beautiful Cunegonde, and her rendition of the famous "Glitter and Be Gay" aria was a dazzling delight. Her vocal runs managed to stay liquid smooth even as her character became more and more manic, and she doled out the plethora of high notes with seemingly no effort. The character of Cunegonde is intentionally two dimensional objectified by the various men that come into her life. Breiwick's performance nailed the superficial nature of the noble lady, only cracking that façade at the every end of the story when she confronts Candide's condemnation of her. This brief glimpse at Cunegonde's true emotional state was powerful.
-Schmopera
-L'ELISIR D'AMORE | OPERA OMAHA-
Deanna Breiwick looked like Bel Canto Barbie onstage. She was bold and beautiful with a voice to match. I was surprised to learn that this was her debut as Adina because it sounded as if she has been singing this role for years. Breiwick's vocal delivery was a charming balance of warmth and vibrance, and she portrayed both Adina's cute, spitfire moments and mature, emotional vulnerability with a natural ease. The sopranos technique was impressive, featuring velvety smooth coloratura, glittering high notes, and a decrescendo to die for. Adina is the popular girl that you kind of want to hate, but she's so damn lovable that you can't. Breiwick is a serious bel canto powerhouse.
-Schmopera
Adina, sung by soprano Deanna Breiwick, was provocative and playful. Breiwick's gorgeous bright tone was consistent and even throughout the two octave range demanded by Donizetti.
-Opera News
-L'INCORONAZIONE DI POPPEA | OPERNHAUS ZÜRICH-
The loyal Drusilla (the superb Deanna Breiwick) first appeared as a Jayne Mansfield lookalike, but showed herself anything but superficial. On the contrary, she is one of the only two characters with any decent moral fibre and she is prepared to go to her death rather than betray the one she loves.
-Bachtrack
-GEORGE LONDON FOUNDATION VOCAL COMPETITION-
Deanna Breiwick gave an enchanting take on “Je veux vivre,” the great soprano aria from Roméo et Juliette. The rich color of her middle voice lived luxuriantly in the big French vowels, and she brought a certain sensuousness to the sighing phrases that made her interpretation stand out.
-New York Classical Review
-MESSIAH | SEATTLE SYMPHONY-
The highflying soprano, Deanna Breiwick, tellingly conveyed the meaning of the words as well as the music, and rose to some spectacular high notes (you don’t usually hear a high C in “Rejoice Greatly”).
-Seattle Times
-THAÏS | METROPOLITAN OPERA-
The other high-flying soprano part, La Charmeuse, was sung by Deanna Breiwick in her Met debut… Breiwick’s stratospheric arpeggios had one laughing in charmed astonishment.
-New York Classical Review
-ELIZABETH CREE | OPERA PHILADELPHIA-
Deanna Breiwick deployed her alluring, silvery soprano to good effect as the ingénue, Aveline Mortimer, singing with utmost assurance, especially in several sublime stratospheric flights of fancy. Breiwick also injected some real grit and passion into the mix with her determined, vengeful testimony at Elizabeth’s trial.
-Opera Today
Deanna Breiwick confidently voiced the coloratura flights of Aveline, a sexy, sinister Adèle figure.
-Opera News
Deanna Breiwick proves through flawless and impressive vocal lines that she is not only an outstanding actress, but also a musician of the highest caliber.
-Schmopera
-THE GRAPES OF WRATH | OPERA THEATRE OF SAINT LOUIS-
Deanna Breiwick was an enchanting presence as Rosasharn. Her secure, silvery soprano floats effortlessly above the staff (and everywhere else, for that matter), and her slight physique and poised singing make her totally believable as the love struck, pregnant young wife. She infuses the opera’s final moments with such heart and hope and humanity that the tears I had been fighting for about the last twenty minutes came flooding like the ravaging rainstorm onstage.
-Opera Today
the pregnant daughter Rosasharn is embodied by the crystalline Deanna Breiwick.
-People's World
Soprano Deanna Breiwick was touching as his pregnant sister Rosasharn, who in the course of the opera loses almost all that she has, except her compassion.
-St. Louis Post-Dispatch
-RIGOLETTO | PALM BEACH OPERA-
Gilda, his daughter, was sung by Seattle soprano Deanna Breiwick, her lovely voice crystal clear with a ringing top and a secure middle range. Lesenger, in the famous “Caro nome” aria, has her singing the last few bars grounded, on her back, a realistic position, since she’s reveling in memories of the young man she’s just met — the Duke of Mantua, pretending to be a poor student, Gaultier Maldé — Breiwick nailed every note perfectly and then some, winning rapturous applause.
-Palm Beach Arts Paper
-COSÌ FAN TUTTE | OPERA OMAHA-
Deanna Breiwick sang and acted the role of Despina with clarity, precision, and moxie while taking every opportunity in each of her arias to tease the audience by displaying her full vocal range with effortless and stunning cadenzas.
-Opera News
Breiwick, however, stole the show as Despina. Her energy and sincerity were not only thorough but deeply connected to every nuance of her rich, agile sound.
-Omaha World Herald
-FAURÉ REQUIEM | SAN ANTONIO SYMPHONY-
Soprano Deanna Breiwick delivered the Pie Jesu solo with unusual purity and serene tranquility.
-My San Antonio
-THE WIZARD OF OZ | ZÜRICH OPERA HOUSE-
So gibt die Amerikanerin Deanna Breiwick das Mädchen Dorothy ganz ohne jene penetrante Girliehaftigkeit, in die erwachsene Darstellerinnen so gern verfallen, wenn sie Kinder darzustellen haben. Breiwick staunt und träumt und singt, als sei sie wirklich noch ein Kind, ohne ironische Distanzierung, ohne Anbiederung.
-Tages Anzeiger
-THE PIRATES OF PENZANCE | OPERA THEATRE OF SAINT LOUIS-
Deanna Breiwick was perfectly cast as Mabel; she’s pretty and has a lovely silvery instrument that handles the character’s attacks of coloratura with aplomb. She made Mabel into more than an ingenue.
-St. Louis Post-Dispatch
-DON PASQUALE| JUILLIARD OPERA-
In that role (Norina) Deanna Breiwick sang with an agile, attractive soprano.
-NY Times
-KOMMILITONEN! | JUILLIARD OPERA-
As Sophie, Deanna Breiwick floated a ravishing lyric soprano with power to soar majestically beyond high C in the opera’s finale.
-New York Post
The Weisse Rose group, led by the piercing, poignant high soprano of Deanna Breiwick as Sophie.
-The Wallstreet Journal
Soprano Deanna Breiwick sang sweetly as Sophie Scholl, leader of the White Rose.
-The Huffington Post
The sparkle in Deanna Breiwick's lyric soprano conveyed the youthful idealism of the Weisse Rose ringleader, Sophie Scholl.
-Opera News
-ZAIDE | ZANKEL HALL-
Headlining the excellent cast of young singers was soprano Deanna Breiwick in the title role. Breiwick has a lyric voice, well suited to Mozart. She was particularly appealing in the aria "Ruhe sanft, mein holdes Leben," a rondo-like lullaby to her love, Gomatz. Alternatively, Breiwick did a fine job of conveying sorrow and rage in her Act II arias and a festive level of joy in Zaide's moments of triumph. One hopes to hear much more from her in the future.
-Opera News
The soprano Deanna Breiwick brought a bright, high voice and charm to the role of Zaide.
- NY Times
-METROPOLITAN OPERA NATIONAL COUNCIL AUDITIONS-
Deanna was a vocal trapeze artist.
-NY Times
Deanna sang with sweet sound and floating high notes.
-NY Times
-LES MAMELLES DES TIRÉSIAS | JUILLIARD OPERA-
Deanna Breiwick… a marvelously vivacious Thérèse. The sparkle in her soprano, especially as it moved up the staff, seemed to reflect the wicked glimmer in her eyes.
-Opera News
-WILLIAM CHRISTIE WITH JUILARD 415 | ALICE TULLY HALL-
But Ms. Breiwick stole the show in the end with a masterly reading of Handel’s “Saeviat Tellus Inter Rigores” (HWV 240). She positively gamboled through the ornamental thickets, emerging unscathed, and soared through the heights with seeming ease.
-NY Times
…One vocal soloist to watch for was Deanna Breiwick,… The voice has a resonance and vibrancy that mark her as one of the most promising young sopranos today, with both an ease in coloratura and an unusual warmth in the lower register which suggest that, with the right opportunities, she will be leading the pack in a few years.
-Opera Britannia
An alluring, charming young singer with considerable flexibility and range.
-Opera Britannia
-DIALOGUES DES CARMELITES | MANNES OPERA-
Deanna Breiwick was a pert, charming Sister Constance.
-NY Times