Selected Press
Photography by Jiyang Chen; Hair+Makeup by Erdan Li
“the real standout...with clear, beautiful tone and vivacious personality.”
“..a natural warmth from soprano Molly Netter.”
“...staggering virtuosity and versatility...
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“clarion brilliance.
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“purity and dead-on accuracy”
“the brilliant and engaging soprano Molly Netter,
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- SELECTED REVIEWS -
“...the real standout was another soprano, Molly Netter, playing both Repentance and Mary Most Holy
with clear, beautiful tone and vivacious personality.”
–James Oestereich, NYTimes; NYC, 2017
“Netter was particularly impressive, her effortlessly ornamented phrases evoking otherworldly incantations…”
-Simon Cohen, San Francisco Classical Voice; Los Angeles Philharmonic, 2023
“Molly Netter was luxury casting for the relatively few soprano solos...Her voice is gorgeously bright and clear, and capable of a wide range of nuance derived from the text...You’ll never catch Netter just singing notes. She is always at a level of meaningful involvement that propels her colleagues onstage.”
–Mark Sebastian Jordan, Seen and Heard International; JS Bach’s Christmas Oratorio; Cleveland, OH, 2019
“…a natural warmth from soprano Molly Netter.”
–Mark Swed, LATimes; 2017
“The purity and dead-on accuracy of Molly Netter’s lovely light soprano suited both of Rosalia’s champions to perfection.”
-David Shengold, Opera News Online; 2017
“Netter’s ‘Jeune Zéphyrs’ is fresh and delicate as a daisy.”
-Colin Clarke, Classical Explorer; BEMF disc review, 2020
“Soprano Molly Netter was the most striking of them, with heft at the bottom of her voice and a floating
top. In “Nigra sum,” accompanied demurely by organist Kenneth Slowik and theorbist Anthony Harvey,
she used the expressive text and judicious embellishments of the relatively simple melodic line to stirring
effect.”
-Charles T. Downey, Washington Classical Review; Kennedy Center performance, 2017
“And soprano Netter was marvelous. She possesses a large, beautiful, gleaming voice without much
vibrato, phrases with exquisite taste, and sings with charming expressiveness.”
-Jim Ruggirello, LA Opus; 2020
“‘If God Be for Us, Who Can Be Against Us, sung with exquisite poise by soprano Molly Netter…”
-Corinna da Fonesca-Wollheim, NYTimes; NYC, 2015
“Beim Auftritt gestern wurde das Trio von der Sängerin Molly Netter verstärkt, de-ren Sopran-Stimme große Wandlungsfähigkeit bewies, von betörend bis verstörend, aber auch in Dissonanzen fest und sicher.”
-Andrea Lange, Schleswig-Holsteinischer Zeitungsverlag; 2015
“Molly Netter lent a hauntingly elegant soprano to her performance as Penitence, spinning affecting phrases… When she returned in the second half, …her singing became more exuberant while still maintaining graceful dignity.”
- Christopher Browner, Academy Journal; 2017
“’Su la cetra amorosa,’ a lengthy ground bass of Tarquinio Merula’s was a nice opening showcase…Molly
Netter’s fluid, effortless soprano soared through Merula’s many diversions, giving a miniature masterclass
on ornamentation…”
- Lee Eiseman, The Boston Musical Intelligencer; 2015
“Soprano Molly Netter so fully inhabited the character of Venus that her words “Call, call the graces,” was
moving beyond description.”
-the Register-Guard; Eugene, OR, 2017
“In a 2014 review for Seen and Heard International, the late Stan Metzger perfectly described soprano
Molly Netter’s voice as ‘white yet warm’. Words I wish that I would have penned, but five years later I
would expand on it a bit. The upper range of her voice is indeed clear and vibrato free, but it is the middle
that is so warm. Netter knits the two distinct registers together seamlessly, but it is the crystalline top that
is so special and which she uses to such great effect.”
–Rick Perdian, Seen and Heard International; NYC, 2019
“…enjoyed the fine vocal talent of soprano Molly Netter, whose plastic sense of nuance and maintenance of secure head tone ensured the integrity of the occasion…her fine diction and control of ornaments, like trills and melismas…provided a “bower of blisse,” a haven for the arts and the proliferation of love in all its forms… Ms. Netter’s close, canny attention to detail had the words rising in volume or ornamented with grace notes to illustrate consistently the poetic sensibility.”
-Gary Lemco, Audophile Audition; Berekely, CA, 2023
“An earthier abandon coursed through “Lasciatemi Qui Solo” (2015), named for its operatic Caccini score. The soloist Kimi Nikaidoh, in a tastefully glistening costume designed by Ms. LeCrone, shared both a weight and delicacy with the harpist Marion Ravot and the soprano Molly Netter, transmuted from sound into movement.”
-Siobhan Burke, NYTimes; 2015
“Standout”
-Heidi Waleson, Wall Street Journal; Boston, MA, 2017
“…Netter’s rich but lithe singing”
– Daniel Hathaway, Cleveland Classical; 2017
“The most lasting impression over this past week came from soprano Molly Netter, who seems to have cultivated an appreciation for the virtue of singing with the entire body and then turning that appreciation into effective practice. Whether the words came from the sacred text of a cantata (the poetry of Salomon Frank for Bach’s BWV 168) or Italian verse (the anonymous poet for Claudio Monteverdi’s “Ardo, avvampo, mi struggo, ardo”), Netter always seemed to come up with a moderate but effective combination of posture, gesture, and facial expression, all of which worked together to endow every word of the text with signification.”
– Steve Smoliar, The Examiner; 2014
“Molly Netter’s voice was crisp and clear, white yet warm. She gave an excellent rendition of the poignant aria ‘Zerfleisse, mein Herze...’”
-Seen and Heard International, review of Bach’s St. John Passion performed at Lincoln Center with Masaaki Suzuki; 2014