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" "The Bone Keepers" -- a kind of creep show meets Laverne & Shirley -- was a favorite of mine, particularly the duet for mezzo Sarah Heitzel (sic) and soprano Amelia Watkins....

The productions were helped enormously by the thoughtful work of the four singers involved... along with... soprano Watkins, who all showed great flair in roles that called on their ardent singing as well as comedic as well as dramatic abilities."

Broadway Online
Various roles in "Park & Bark" with American Opera Projects and New York University


"Asakir has a heated exchange with her sister, Mabrouka (the soprano Amelia Watkins, who brings bright sound and touching vulnerability to her performance)."

The New York Times
Mabrouka in Mohammed Fairouz's Sumeida's Song at the Prototype Festival


"Soprano Amelia Watkins sings brightly and agilely as Mabrouka, Asakir's sister."

The Star-Ledger (NJ) 
Mabrouka in Mohammed Fairouz's Sumeida's Song at the Prototype Festival


""First was Tahwidah, a setting of a most poignant poem by Mahmoud Darwish who passed away before Fairouz could complete the work. His spirit may yet have been in the room, as soprano Amelia Watkins, with David Krakauer on clarinet, gave life to one of the saddest lullabies ever written. Krakauer made his clarinet a living thing, the anima of the mother singing to her dead son. Watkins was luminous and the pairing was far more than the sum of the parts."

(Q)onStage (New York's Performances & Arts Reviews) 
Mohammed Fairouz's Tahwidah at Le Poisson Rouge


"Amelia Watkins brought a megawatt smile to the role of Norina and matching vocal power to the top notes... Watkins possesses a bright soprano and a great deal of agility in fast passages."

The Classical Review 
Norina in Don Pasquale


"In a resourceful, astonishingly beautiful Wilfred Owen setting by Gregory Spears, Amelia Watkins, a soprano, and Anthony Roth Costanzo, a countertenor, intertwined in languorous flights."

The New York Times 
21C Liederabend at The Kitchen


"Ottawa-born soprano Amelia Watkins sang well in the fifth movement, the only one with soprano solos."

The Ottawa Citizen 
Mahler 2 at the National Arts Center

 


"Watkins's down-to-earth, irresistible Zerlina provided the major vocal pleasure of the evening - a rich, glowing lyric sound destined for the heights."

Opera News 
As Zerlina in Don Juan in Prague (Don Giovanni) at BAM


"La ci darem la mano" (vocally the evening's zenith, as lushly sung by Watkins and Schaldenbrand)..."

Opera News 
As Zerlina in Don Juan in Prague (Don Giovanni) at BAM


"Amelia Watkins shows promise..."

The New York Times 
As Zerlina in Don Juan in Prague (Don Giovanni) at BAM


"Amelia Watkins [as Zerlina] is clearly developing the necessary chops..."

New York Sun 
As Zerlina in Don Juan in Prague (Don Giovanni) at BAM


"The cast is uniformly excellent - but the performances are first rate, as good as anything at the New York City Opera or the Met - each cast member has their chance to shine, and shine they do, especially...Amelia Watkins as Dorothy."

NY Theater Review 
As Dorothy in Hell: The Opera at PS122, NYC


"So well paired are Holiman's and Watkins' voices that the subtle difference in voice textures and register force the CD listener to ask, even in the first three poems with polyphonic settings, who is singing which phrase - the two voices in close choreography represent a woman's internal gyroscope in a mortal dance with cultural attitudes that threaten to knock off balance her centered spin, much to her peril - the a cappella voices of youth and age weave one song for womanhood, to be passed on, woman to woman, alone."

Potpourri 
For the CD "New Growth" (Albany Records) 


"Another young Canadian, soprano Amelia Watkins completed the cast as an attractive-voiced Gianetta..."

The Toronto Star 
As Gianetta in L'elisir D'amore with Opera Ontario


"Amelia Watkins was a pert and bright-voiced Giannetta in her brief moment in the sun."

La Scena Musicale 
As Gianetta in L'elisir D'amore with Opera Ontario


"Soprano Amelia Watkins completed the principals as Gianetta, the peasant girl... Watkins has a lovely sound."

The Hamilton Record 
As Gianetta in L'elisir D'amore with Opera Ontario


"Salome Fast, a US premiere by onetime Tanglewood student Ron Ford, is a highly original condensed telling of the Salome and John the Baptist tale. The narrative is hastily shouted in Aramaic. Amelia Watkins seemed to the manner born, though she in fact had to learn each word from scratch against a rich-textured chamber orchestra"

American Record Guide 
In recital at the Tanglewood Music Festival


"Amelia Watkins made an especially strong impression, her well produced voice displaying a solid top and immaculate phrasing."

Berkshire Eagle 
In recital at the Tanglewood Music Festival


"Oliver Knussen's "Whitman Settings" begin with their feet on the ground and end in ecstasy - wonderfully sung by Amelia Watkins..."

Boston Globe 
In recital at the Tanglewood Music Festival


"Jolas's delicious piece - a tumble of lines from 15 love poems in English and French - delightfully sung (and played) by Amelia Watkins and Mia Lennox."

Boston Globe
In recital at the Tanglewood Music Festival