Chamber Music Society delivers with style “…Things brightened up after intermission. Andre Previn’s “Vocalise” was a patchwork of luscious bits performed by soprano Michelle Areyzaga, cellist David Finckel and pianist Alessio Bax. …Three cabaret songs of William Bolcom returned Areyzaga and Bax to the stage. The soprano showed some charming acting ability and also perfectly [...]

Fine Hyde Park performance of rarely heard music “The concert opened with Giocomo Meyerbeer’s Hirtenlied, written for soprano, clarinet and piano. Areyzaga performed this idyllic song about a shepherd high above the rest of world with beautiful clarity and sweetness. …The newest and longest composition on the program was Songs of the Kisaeng by the [...]

Soprano Areyzaga warms up a rainy night in Chicago Ensemble opener “No chamber series in town roves as widely nor as adventurously, and so it proved again with Tuesday evening’s generous program sparked by soprano Michelle Areyzaga, who led off the concert with a rarity by Meyerbeer. …The clear inspiration for Hirtenlied is Schubert’s Shepherd [...]

“Areyzaga had many opportunities to shine and she took them firmly in hand. In a 2001 work by American composer Mark Zuckerman — “Ménagerie” — she was an apt story-teller, bringing to life poetry by Robert Desnos which Rizzer noted was beloved by French children. “Le Léopard” was enhanced by Levitin’s flute, which at first [...]

“Michelle Areyzaga was the standout, her high soprano–and exemplary diction–soaring in her solo moments as the blind man’s mother. […] The finest moments were once again provided by Areyzaga’s sensitive and evocative solo singing.” —Lawrence Johnson – Chicago Classical Review, April 25, 2015 (Soloist with the Chicago Master Singers and Ars Viva Symphony)

"...intelligently and sensitively sung by soprano Michelle Areyzaga ... captured the pointillist essence of Beckett’s language; and Areyzaga’s robust singing in “Roundelay” was colored with gentle commentary from the flute and viola." —Tim Sawyier - Chicago Classical Review, March 2, 2015 (Soloist with Contempo)

“The highlight of the first half was Max Reger’s breathtakingly lovely “Maria Wiegenlied”, or Mary’s Cradle Song. Areyzaga, the soprano, sang it beautifully.” —Mary Kunz Goldman – The Buffalo News, December 12, 2014 (Soloist with the Buffalo Philharmonic Orchestra)

“Michelle Areyzaga’s bright luminous soprano made the most of her opportunities with lovely singing in the Lux aeterna.” —Lawrence Johnson – Chicago Classical Review, November 9, 2014 (Soloist with the Chicago Master Singers and Ars Viva Symphony)

“. . . the choir, orchestra, and two soloists rendered it spectacularly.” —Gene Harris – Richmond Times Dispatch, October 19, 2014 (Soloist in Mahler’s “Resurrection” Symphony No. 2)

“. . . a richly sonorous soprano, Michelle Areyzaga in that finale.” —Clarke Bustard – Instant Encore/Letter V, October 18, 2014 (Soloist in Mahler’s “Resurrection” Symphony No. 2)