Mezzo soloist, Verdi
Requiem, (Clarice Smith
Performing Arts Center, UM)
“What
set this performance apart, aside from the unusual skill and dedication of the
young musicians, was the stellar group of soloists imported for the occasion:
soprano Sharon Sweet, mezzo-soprano Michelle T. Rice, tenor Benjamin
Warschawski and bass James Morris, established artists who have graced opera
stages throughout the world, yet found their way to College Park to work with
the next generation….Rice stepped in for an indisposed Delores Ziegler at the
last minute, singing credibly and fervently, in true Verdian style, as though
she'd just stepped out of Aida.”
Clara, Clara (world premiere), (
“Mezzo-soprano
Michelle Rice was convincing as the mature Clara, reflective and confident in
both her singing and acting. She excelled at dramatic subtleties and pierced
scenes with her presence and clarity of voice – especially compelling during
revelatory biographical moments.”
Clara, Clara (world premiere), (
“Stand
out performers in the cast of ten players are
mezzo-soprano Michelle Rice as the dying Clara and baritone Bobb Robinson as
Friedrich Wieck, Clara’s father.”
Culturevulture.net
Clara, Clara (world premiere), (
“The
voices of mezzo-sopranos Michelle Rice and Lee Anne Myslewski as the older and
younger Clara were expressive and clear….”
Suzuki, Madama Butterfly, (
“Michelle
Rice was excellent as Suzuki, the one character who remains completely devoted
to Butterfly, delivering a lovely Flower Duet with Williams in Act 2 and rising
to dramatic power in the Act 3 trio….”
Suzuki, Madama Butterfly, (
“As
Suzuki, Michelle Rice sang firmly and with considerable interpretive fire.”
Suzuki, Madama Butterfly, (
“The
Suzuki of Michelle Rice…became a strong presence in the two latter acts. In
fact, her "Flower Duet" with Ms. Williams near the end of Act II was
one of the highlights of the entire production, so beautifully did her dark,
lustrous mezzo soprano voice contrast Ms. William's high, more gleaming tone.
Ms. Rice's Third Act, as she comes to grips with the very real tragedy that is
about to confront her, was both moving and terrifying.”
The Capital
Irene, Tamburlaine, (Opera Vivente)
“As
Irene, Tamburlaine's eventual queen, Michelle Rice sang in rich, compelling
tones.”
Mrs. Grose, The Turn of the Screw, (
“The
cast was just as admirable, with dramatically charged and vocally superlative
performances from tenor Jeffrey Lentz (both the Prologue and the evil Peter
Quint) and Michelle Rice (the housekeeper, Mrs. Grose).”
DCist.com
Mrs. Grose, The Turn of the Screw, (
“Anne
Dreyer as the Governess, Michelle Rice as the housekeeper and Valerie Komar as
the ghost of Miss Jessel were all nicely suited to and comfortable in their
roles….they were nuanced and sensitive, and they made their characters palpably
real and believable.”
Mrs. Grose, The Turn of the Screw, (
“Michelle
Rice created a sympathetic Mrs. Grose, the housekeeper, and her firm, warm vocalism
made every phrase speak.”
Woman, Holy Hell (play), (Madcap Players)
“The
only dramatic entry in this year's collection features the best acting, perhaps
because the characters have the most to work with. Tony Simione and Michelle
Rice really sink their teeth into Barbara Lindsay's Holy Hell….”
PotomacStages.com
In Recital,
“Michelle
Rice enlisted her supple mezzo to reach contralto depths with tones of pure
gold.”
Washington Post
Mozart by Candlelight,
“Mezzo-soprano Michelle Rice offered a
lovely, moving "Mi tradi quell'alma ingrata" from Don Giovanni.”
Baltimore Sun
Annual Vocal Competition,
“The other two mezzo-sopranos on the
program continued this same level of performance excellence.... Mezzo Michelle Rice took the prestigious
Lindley Incentive Award for her strongly etched portraits of women scorned from Benjamin Britten's "The Rape of
Lucretia" and Mozart's "Don Giovanni".”
The Capital
Berta, Il Barbiere di Siviglia, (
“...Michelle Rice sang Berta with surprising roundness and clarity.”
Berta, Il Barbiere di Siviglia, (
“Mezzo-soprano Michelle Rice gave a nicely vocalized comedic turn
as Berta, Doctor Bartolo's long-suffering housemaid. Her little
second act aria, "Il vecchiotto cerca moglie," was delightful and,
considering how much cleaning up she had to do, the actions on
stage certainly explained her disgruntled complaints.”
Berta, Il Barbiere di Siviglia, (
“Mezzo-soprano Michelle Rice, remembered by Annapolis Opera fans for a portrayal of
Suzuki two years ago, delivered another memorable performance as Berta, Dr. Bartolo's
housemaid, singing beautifully.”
Mrs. Grose, The Turn of the Screw, (
“Michelle Rice sang Mrs. Grose's
narrative with great intensity and provided sympathetic support to the Governess.”
Mrs. Grose, The Turn of the Screw, (
“The tale's abiding
anguish extends to Mrs. Grose, the housekeeper, whom Michelle Rice essays
with a touching blend of empathy and terror.”
Mrs. Segstrom, A Little Night Music, (
“The singing was begun, of course, by the quintet of minor characters,
who, in Greek-chorus fashion, comment on the action at hand. [These] singers have all performed major roles in Cleveland in the past,
pointing to how carefully and wisely Opera Cleveland cast the entire production. Their performance, whether in quintets, trios, or duets,
was always a delight.”