Viennese Winter Ball (Ottawa)
"...soprano Ellen Wieser gave a gorgeous performance."
-Caroline Phillips, Ottawa Citizen, February 21, 2016
-Excerpted from "Around Town: Viennese Winter Ball Returns to Ottawa in Graceful Style"
Highlands Opera (Haliburton): The Vinedressers
"Ellen Wieser's supple voice moved with ease from soaring duets to her haunting, ghostly appearance in the final act, effectively portraying Helena's journey from the naivety of new love to the horror of being torn away from that physical presence... Wieser's and Myers' 'The Vinedressers Duet' was poignantly beautiful and the attractive singers were completely believable as star-crossed lovers."
-Dawn Martens, Opera Canada, Fall 2015 Volume LVI
Castleton Festival (Virginia): Scalia/Ginsburg (World Premiere)
"In a powerful yet lucid soprano, Wieser, who’s on her way to establishing a strong place on the touring circuit, simply soared."
-Nicholas M. Gallagher, The American Interest, 6 August, 2015
-Excerpted from "Opera Dicta"
"Ellen Wieser’s looks and voice suggest this is a star in her own right and therefore perfectly cast as a younger, and equally glamorous RBG... Wieser has such fun with the role, one forgets she is swooping in and out of various difficult operatic and other repertoire and voice registers with lightning speed."
-Susan Galbraith, DCTheatreScene.com, 14 July, 2015
-Excerpted from "Scalia/Ginsburg Opera Debuts at Castleton"
"Ellen Wieser as Ginsburg is especially compelling, with a strong, clear soprano voice and a stage presence and feminist swagger that Notorious RBG fans will adore."
-David Lat, Above The Law, 16 July, 2015
-Excerpted from "ATL Opera Review: Scalia/Ginsburg"
"Ginsburg, sung with animation, clarity and a light, flexible soprano voice by Ellen Wieser, is clearly the sympathetic heroine of the work."
-Philip Kennicott, Washington Post, 12 July, 2015
-Excerpted from "'Scalia/Ginsburg': And affectionate comic opera look at the High Court"
"Soprano Ellen Wieser and tenor John Overholt are convincing both as flexible, comic opera singers and justices with inner lives."
-Mark Swed, LosAngeles Times, 13 July, 2015
-Excerpted from "'Scalia/Ginsburg' Opera Underscores how Opposites can be in Harmony"
Jeonju International Sori Festival (South Korea): "Stone" from Starmania
“L'interprétation très vibrante qu'Ellen Wieser a livrée du célèbre air de Starmania a été chaleureusement accueillie. Le public coréen aime les voix lyriques."
-Claude Deschênes, Radio-Canada.ca, 2 October, 2013
-Excerpted from “La soprano Montréalaise Ellen Wieser chante Starmania en Corée du Sud"
Productions SuperMusique: Isaiah Ceccarelli's Toute clarte m'est obscure
"...dans quelques strophes plus mélodiques, la chanteuse Ellen Wieser a livré un texte aux résonances moyenâgeuses de la plume du compositeur également. Très belle voix à la tessiture immense, elle a parfaitement servi cette mélodie baignée de l’influence de Berg."
-Normand Babin, montrealistement.blogspot.ca, 16 April, 2013
-Excerpted from “Moment de grâce"
Opera da Camera: Le nozze di Figaro (La Contessa)
“Wieser, as the Countess, graciously held the moral high ground in the ridiculous plot and dispatched one of the more difficult vocal parts with aplomb; her tone has bite and a promising weightlessness"
-Lev Bratishenko, roverarts.com, 24 February, 2013
-Excerpted from “Friendly Opera"
“I especially enjoyed the adorable relationship between the charming, sweet-faced Susanna (played by Valérie Bélanger) and the gorgeous and tragic Countess (played by Ellen Wieser)."
-Vic, bloodyunderrated.net, 24 February, 2013
-Excerpted from “Le Nozze di Figaro @ Rialto Theatre"
Opera Lyra Ottawa: Cinderella (English adaptation of Rossini’s Cenerentola) (Clorinda)
"Ellen Wieser’s potrayal of Clorinda/Tisbe was so convincing that it is really hard to decide whether she is better as a singer or as an actress."
-Rajka Stefanovska, capitalcriticscircle.net, 4 November, 2012
-Excerpted from "Cinderella: Opera Lyra’s adaptation captures
the magic of Rossini's Cenerentola"
Prince Edward County Music Festival: Barber's Hermit Songs with Stephane Lemelin
“Soprano Ellen Wieser opened the concert with Samuel Barber’s cycle Hermit Songs, settings of short poems by medieval Gaelic monks. With her silvery lyric soprano, she demonstrated her technical control of her instrument, bringing differing emotional colours to voice as she ran the gamut from meditative to comic, from sweetly light-hearted to deeply thoughtful, ably supported by Stephane Lemelin’s piano."
-Celine Papizaweska, Picton Gazette, September 27, 2012
-Excerpted from “Music Festival’s ninth season finds beauty through memorable performances"
"Before a capacity crowd, the program opened with a beautifully sung presentation of American composer Samuel Barber's song cycle, Hermit Songs, with soprano Ellen Wieser accompanied by Lemelin... Wieser handled each [song] in keeping with its mood, from beaming smiles to plaintive expressions..."
-Jack Evans, Picton County Weekly News, September 27, 2012
-Excerpted from "Poignant Close to PEC Music Festival"
"One of the artists of the festival’s second week is soprano Ellen Wieser, who enthralled audiences last year with her silvery-bright voice and expressive musicality."
-Quinte Arts Council Umbrella, September/October, 2012,
Volume 22, No. 4
Mont-Royal Baroque Collective: Rameau’s Pygmalion (La Statue)
“Recently arrived to Montreal, Soprano Ellen Wieser was an easy actress… a beam of sunshine…"
-Lev Bratishenko, roverarts.com, April 21, 2012
-Excerpted from “I Could Have Danced (Baroque Music) All Night"
Jeunesses Musicales du Canada: Carmen (Frasquita)
“Réussite rendue possible par le jeu sans faille de toute la troupe, mais surtout des interprètes féminines…Ellen Wieser et Rachèle Tremblay (Frasquita et Mercédès) savaient aussi à merveille lui donner la réplique."
-Melanie Labrie, La voix de la Matanie, 14 November, 2011
-Excerpted from “Ovation Debout pour Carmen"
Prince Edward County Music Festival: Ana Sokolovic’s Tanzer Lieder
“Soprano Ellen Wieser had a warm interaction with the audience as she worked her way through this challenging, highly contemporary work which included numerous discordant intervals, slides and, at the close, even speaking musically as Sokolovic used the human voice like a highly versatile instrument."
-Jack Evans, County Weekly News, Sept. 29, 2011
-Excerpted from “A Classic Close to Festival"
“…following a St. Mary Magdale concert in which he participated in performances of Dvorak's A Major Piano Quintet, op. 81 and the chamber version of Mahler's Songs of a Wayfarer, (and) featuring the talented young soprano Ellen Wieser."
-William Littler, Toronto Star, 26 October, 2011
-Excerpted from “Jonathan Crow’s Migrations will bring him back"
“The grand finale… brings back Ellen Wieser, soprano, whose ethereal voice wowed audiences last year."
-County Weekly News, 21 June, 2012
-Excerpted from “Mozart, Mozetich and More"
University of Cincinnati: Danny Clay Composition Recital
“However, Clay saved his best work for last. ‘Children’s Songs,’ for soprano and piano, ended the program… Clay dedicated the work to soprano Ellen Wieser, who performed it wonderfully."
-Jessica McCafferty, The News Record, Feb. 27, 2011
-Excerpted from “Student recitals prove composers not extinct"
Concert:nova: Latin Event with NADA
“Canadian-born Wieser wore a red rose in her hair and displayed a lovely lyric voice in two of the ‘Cuatro Madrigales Amatorios’ (‘Four Love Songs’) by Joaquin Rodrigo".
“Soprano Wieser… performed the Aria (Cantilena) from Villa Lobos' 'Bachianas Brasilieras' No. 5… Wieser sang with great tonal beauty, and her hummed reprise cast a bewitching spell."
-Mary Ellyn Hutton, MusicinCincinnati.com, 5 Oct, 2009
Merola Opera Program: Britten’s Albert Herring (Miss Wordsworth)
“SFO’s summer Merola Opera Program’s staging of Benjamin Britten’s Albert Herring featured Canadian soprano Ellen Wieser as Miss Wordsworth, the music teacher. Her precise, high soprano perfectly captured the busy, though sympathetic, school ma’am, who threads her way through the charming action set in an English village"
-John Bender, Opera Canada, Dec/Jan 2008/09
“…there were strong performances by Ellen Wieser as the schoolteacher, Tyler Nelson as the mayor, Benjamin LeClair as the police superintendent and Natasha Flores as Mrs. Herring."
-Joshua Kosman, Chronicle Music Critic, SFGate.com, July 22, 2008
-Excerpted from “Merola Cast Aces Britten Chamber Opera"
“As voice teacher Miss Wordsworth, soprano Ellen Wieser was delightfully self-effacing and proper."
-Jason Victor Serinus, San Francisco Classical Voice, July 22, 2008
-Excerpted from “Virtuous Virgins and Sanctity Defiled"
Glimmerglass Opera: Offenbach’s Orpheus in the Underworld (Diana)
“Canadian soprano Ellen Wieser plays the goddess Diana, and even though it is a small role, it certainly shows off the young singer's lovely, agile coloratura that hints of power to come. She is someone to watch."
-Paula Citron, The Globe and Mail, August 20, 2007
-Excerpted from “A myth transformed into masterful musical reality"
“Soprano Ellen Wieser displayed a sparkling coloratura as Diana."
-Paula Citron, Opera Canada, September 1, 2007
“The Public Opinion of Joyce Castle, the Cupid of Joelle Harvey and the Diana of Ellen Weiser lend terrific support."
-Joan E. Vadeboncoeur, The Syracuse Post-Standard, July 20, 2007
-Excerpted from “Glimmerglass offers silly ‘Orpheus’ for Family Day"
“…love-distraught Diana, effectively sung by Ellen Wieser."
-Chuck Klaus, The Syracuse Post-Standard, July 8, 2007
“More good work came from Ellen Wieser as a Marlene Dietrich-like Diana, goddess of the hunt."
-Wayne Meyers, The Oneida Daily Dispatch
-Excerpted from “'Orpheus in the Underworld' opens Glimmerglass
Opera's Festival Season"
Cincinnati Chamber Orchestra: Mozart’s Cosi fan tutte (Despina)
“Soprano Ellen Wieser floated a lovely lyric soprano as the maid Despina, (who sashayed stage right during her flirty “Una donna quindici anni" to make a pass at Santora)."
-Mary Ellyn Hutton, The Cincinnati Post, 12 June, 2006
“As the maid Despina, Ellen Wieser wielded a bright, clear voice."
-Janelle Gelfand, The Cincinnati Enquirer, 12 June, 2006
Dayton Philharmonic Orchestra: J.S. Bach’s Cantata 147 Herz und Mund und Tat und Leben
“Soprano Wieser and tenor Compton have crystal voices that demand Mozart and Rossini opera roles."
-Burt Saidel, The Oakwood Register, 18 April, 2006
University of Cincinnati, College-Conservatory of Music: Albert Herring (Miss Wordsworth)
“Daffy Ellen Wieser was a tremendous Miss Wordsworth."
-Richard Cowan, The Cincinnati Enquirer, 14 Feb, 2006
Manitoba Chamber Orchestra: Finzi’s In terra pax
“Young soprano Ellen Wieser was a breath of fresh air, with her delicate voice and peaceful countenance. She showed no signs of effort as her light voice soared clearly to lofty heights."
-Gwenda Nemerofsky, The Winnipeg Free Press, 8 December, 2004
Viennese Winter Ball (Ottawa)