Fons was an affecting Susanna, with her gorgeous rich tone, super diction, exquisite coloratura and her detailed attention to the text producing lambent tones on critical notes. One can single out the air “Bending to the throne of glory” as displaying all her strengths, with a sustained controlled cadenza in the da capo. Another tour de force was the air “If guiltless blood be your intent”, surpassed only by her final glorious air “Guilt trembling spoke my doom”, a stunning piece of singing virtuosity.
Im perfekt aufeinander abgestimmten Solistenensemble brillierte Emily Fons in der Titelpartie mit ihrem wunderbar warmen, ausdrucksstarken Mezzosopran.
In the perfectly harmonized ensemble of soloists Emily Fons excelled in the title part with her wonderfully warm, expressive mezzo-soprano.
… la jeune Emily Fons est, dans le rôle-titre, une heureuse révélation, alliant un timbre riche et corsé à une projection aussi insolente que son agilité. Un soupçon de larme sur la voix, un rien de sobriété dans l’art de l’ornementation, et elle sera sans aucun doute une très grande Angelina.
… the young Emily Fons is, in the title role, a happy revelation, combining a rich and full-bodied timbre with a projection as bold as her agility. A hint of tears on her voice, and nothing restrained in the art of ornamentation, she will undoubtedly be a very great Angelina.
Dans le rôle titre, la mezzo soprano Emily Fons obtient un succès mérité grâce à une belle présence, une interprétation à la fois fraîche et engagée et une remarquable agilité dans ce rôle très exigeant vocalement – notamment dans l’aria final « Nacqui all’affano ».
In the title role, mezzo soprano Emily Fons gets a deserved success thanks to a beautiful stage presence, an interpretation both fresh and engaged, and remarkable agility in this very vocally demanding role – especially in the final aria “Nacqui all’affano.”
The tone is set early on with Fons’ achingly beautiful and poignant rendering of Cherubino’s “Non so piu cosa son.”
– Michael Crabb, Toronto Star
Emily Fons is an androgynous delight as Cherubino, with a honeyed yet light voice and great physical daring.
– Lydia Perovic, The Globe and Mail
Mozart gave all the memorable tunes to Zerlina, and Fons’ fresh, shimmering mezzo made the most of Moazart’s bounty, especially her aria used to comfort Masetto “Vedrai, Carino.”
– Ken Herman, San Diego Story
Fons…seems to be at the onset of a most impressive career. Her singing was an iridescent wave of vocal color as she captured her character’s delicious moments of indecision.
– Maria Nockin, Opera Today
Emily Fons made a winning company debut, not silly or nymphomaniacal, somehow just right, supporting her character with vocal intelligence. Her conciliatory “Batti, Batti” was a highlight.
– Charlene Baldridge, Opera News
Emily Fons, also a mezzo soprano, brought rich tone to the role of Ruby, conveying rough-hewn lustiness.
– James Keller, The Santa Fe New Mexican
Emily Fons, singing with ringing, resonant tone, is delightful as the take-charge, mountain girl, Ruby, who comes to help Ada run her farm.
– Mary Helen Klare, The Albuquerque Journal
Mezzo Emily Fons was just right for the no-nonsense role of Ruby, the woman who teachs Ada the art of survival.
– T.R. Reid, The Washington Post
It was the darker-voiced mezzo soprano, Emily Fons, who created an immediately recognizable character in her depiction of the edgy, strong-willed Ruby. With golden sounds that included an opulent mid-range, she sang that her only teacher was hunger while she taught Ada how to live off the land and plan for a Spartan future.
– Maria Nockin, Opera Today
“Mezzo soprano Emily Fons has a dynamite voice: dark and rich yet flexible, and that dark sound is gloriously natural, not manufactured as we sometimes hear. She is universally praised for her androgynous portrayal of young men in many pants roles, such as Nicklausse in Offenbach’s Tales of Hoffmann.”
“Her interpretation of Marguerite’s lovesick suitor Siébel was anything but reserved — rather raw and exceedingly physical. Fons’ rendition of “Faites-lui mes aveux” revealed a voice that ascended the scale easily, both agile and expressive.”
“Mezzo-soprano Emily Fons was most impressive in the trouser role of Siébel, with the kind of light, fleet voice perfect for this role.”
“Young American soloist Emily Fons was almost beyond praise in the title role. Her powerful mezzo allied with solid technique produced fireworks in almost every aria, with stunning virtuosic cadenzas. Pretty singing and affecting feeling in “Si, tornerò” contrasted with gripping force in “Sebben mi lusinga” with her voice moving up a gear in the da capo, an exceptional “Poiché pria di morire”, and ferocious low notes in “Voglio che sia l’indegno” contributing to a complete tour de force of singing and emoting. Clearly a singer to watch out for. ”
“Emily Fons is excellent as Faramondo – clearly a young man staking out his own territory against Gustavo. In the aria ‘Voglio che sia l’indegno’, a raised eyebrow – as it were an inverse wink – makes the audience complicit in his sentiments. Her voice has a young man’s lightness, while still conveying the intensity of his mixture of emotions. At times boyish, at others suggesting the future of his maturity, Fons’ performance explores fully the complexity of the character.”
“The gifted young mezzo-soprano Emily Fons extracts all its poignancy and demonstrates ample vocal muscle in Faramondo’s more heroic utterances.”