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Nabucco, Stadttheater Pforzheim, (Germany) |
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Pforzheimer Zeitung, Thomas Weiss
For her German debut, Valerie Bernhardt presented an enthralling portrait of the power-hungry Abigaille, thanks to her phenomenal coloratura-technique and superior high register even in the dramatic passages. Equally as impressive her portrayal of the dying one, who asks her half-sister for forgiveness |
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Nabucco, Stadttheater Pforzheim, (Germany) |
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Stuttgarter Zeitung, Wolfgang Albrecht
Valerie Bernhardt carried the entire evening, singing an exceptional Abigaille a fabulously sung and acted death aria of Abigaille |
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Tosca, Opera at Florham (Florham Park, NJ) |
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Recorder Community Newspapers, Sheila Abrams
...beautifully sung and acted by Valerie Bernhardt....A dramatic soprano with a soaring range, who makes the most difficult vocal gymnastics seem effortless, she is also a fine actress with a wonderful stage presence. |
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15th Evelyn Lear and Thomas Stewart Emerging Singers Concert |
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The Washington Post, Cecelia Porter
Valerie Bernhardt joined in an emotionally high-wire dialogue between the Dutchman and Senta from "Hollaender." Bernhardt has a molten mezzo quality and lovely high range.....(Ms.) Bernhardt's "Liebestod" from "Tristan" gave the role a full measure of passionate lyricism. |
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The Magic Flute, Coro Lirico (Morris Plains, NJ) |
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Classical New Jersey, Paul Sommers
Valerie Bernhardt beautifully sang Pamina's every aria and ensemble, filling Morris Plains’ St. Vincent’s Church and reaching listeners with her warm tones and melodic understanding. She sounded heavier than the average Pamina and would similarly seem welcome in a Verdian context. |
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Adelia, Opera Orchestra of New York (Carnegie Hall) |
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Online Review
Valerie Bernhardt as Odetta delivered the few lines that are allotted to her role with an agreeable timbre and much passion. Her leggiero soprano voice blended in nicely with the female chorus in the opening of Act II. |
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Apollo Muses – Afternoon of Opera at Dunwalke Estate |
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Classical New Jersey, William Storer
...her voice revealed its natural character, much in a tradition now of Kiri te Kanawa and, before her, Renata Tebaldi in terms of beauty as the prime goal of tonal production. Also evident is the fact that Ms. Bernhardt leans into the drama, and the music assuredly follows. Throughout, but especially in La Rondine, portamento, rarely used but perfectly executed, made for seamless lyricism and awesome realization of pianissimo notes above the staff.
In the closing phrase (Depuis le jour) Ms. Bernhardt hit a high B forte, took a crescendo to fortissimo, softened this, all with ease, then on a soft “amour” piano strings could be heard in sympathetic vibration! Yes, perfect intonation. |
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Jerusalem (Verdi), Opera Orchestra of New York |
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Classical New Jersey, Sonia Lewis
Soprano Valerie Bernhardt was vocally youthful and lyrically sparkling, with a soaring top register and a solid middle. |
