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From the concert Lawrence Brownlee and Friends: The Next Chapter
Whitney Morrison, soprano and Craig Terry, piano
“Io son l’umile ancella” from Adriana Lecouvreur “Principessa l’amore” (Liu) from Turandot
“Whitney Morrison, in a bright-yellow dress and glittery silver earrings, was simply astonishing in everything she sang. She was riveting in her first number,’To this we’ve come’ from Menotti’s The Consul, spitting out lines like “Have you ever seen the Consul? Does he speak? Does he breathe?” She later sang a wonderfully jazzy, heartfelt mashup of ‘His Eye is On The Sparrow’ and ‘My Tribute,’ arranged by Morrison and accompanist Craig Terry. The ecstasy on her face at the words ‘I sing because I’m free’ would have brought down the house—if we could be in the house. Morrison’s is such a large voice that it was the only one during the streamed event that my speakers couldn’t handle. This a voice we need to hear live.” – Opera News
“Only one impassioned aria caught my ear: Leonie Baker (soprano Whitney Morrison) tells Sylvie to leave well enough alone and not make trouble—she just wants to get to Jackson, Miss., and doesn’t care if the train is segregated. It reminded me of “My Man’s Gone Now” from Gershwin’s “Porgy and Bess.”” – Wall Street Journal
“As mentioned earlier, the production’s big surprise was soprano Whitney Morrison, who nearly stole the show as Leonie Baker with one aria. This self-confident singer performed it with forcefulness and conviction, drawing some of the biggest applause of the evening” – Classical Voice America
“Now even more determined to join the movement, Sylvie stands firm when confronted by Leonie Baker (a terrific turn by soprano Whitney Morrison), an older, clearly successful African American woman who accuses her of just stirring up trouble, and only making the things that will never change become worse.” – Wttw News
“And right at the end, like a descending angel, soprano Whitney Morrison suddenly makes a vocally splendid appearance at the train station – as an annoyed woman of a certain age who doesn’t understand why these young folks are so determined to upset the perfectly tolerable way things are. Morrison took the night’s singing to another level.” – Chicago on the aisle
“If you want to help him, you have to forgive him,” is what her friend, Sister Rose, richly sung by Ryan Opera Center alum Whitney Morrison, tells her.” – Chicago Reader
“Soprano Whitney Morrison, a Ryan Opera Center alum, sounds vocally sumptuous and conjures deep spirit as Sister Rose, a Prejean friend and foil.” – Chicago Tribune
“In a big supporting cast of large voices, Whitney Morrison proved ideal casting as Helen’s colleague, Sister Rose. The Ryan Center alumna brought a big, gleaming soprano and sympathetic persona to Helen’s friend and sisterly confidante, their voices blending gratefully in the Act II duet.” – Chicago Classical Review
“Many of the supporting roles are also strongly cast. Whitney Morrison beautifully inhabits Sister Rose, who wisely questions Sister Helen about her physical and mental health.” – Windy City Times
“In quite a large and essential role, soprano Whitney Morrison displayed a warm, expressive voice as Rose, Helen’s fellow nun, friend and wise counselor.” – Chicago on the aisle
“Whitney Morrison and Lauren Decker dazzle in their turns as secondary characters Sister Rose and Jade Boucher.”– New City Stage
“Also excellent is plummy-voiced soprano Whitney Morrison as Helen’s friend and confidante Sister Rose, particularly good in the scene where she plays the foil to Sister Helen’s middle-of-the-night dilemmas.” – Parterre box
“There are exceptional performances throughout the ensemble. Most notably Gordon Hawkins as the morally conflicted prison warden and Whitney Morrison as Sister Rose. Her richly textured performance and luxurious voice, recalls the recently departed Jessye Norman.” – The Times Weekly
“Whitney Morrison, a recent alumna of The Patrick G. and Shirley W. Ryan Opera Center, made an impactful professional debut with the company in the role of Sister Rose. Her big, gleaming voice was simply a joy to hear, especially in her Act II scene with Sister Helen.” – Schmopera
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