Vocalist - Soprano
Acclaim
New York Choral Society - Bach's Mass in B Minor

"Abigail Fischer...was the soloist most heard from during the evening. The Qui sedes movement (again with Gal-Ed’s mellow oboe d’amore) was just one example of Bach’s music enhanced by Fischer’s well-rounded voice and dignified delivery."

David Wright, New York Classical Review
Renovated Halls Proved Successful in 2017

"The undisputed star was the brilliant Abigail Fischer, as Eberhardt. She embodied her character’s restless spirit with a lush, plangent mezzo-soprano incorporating every emotion from anticipation to resigned acceptance."

Anne Arenstein, CityBeat
Song from the Uproar, a co-production by concert:nova and Cincinnati Opera, makes history

"Abigail Fischer as Eberhardt (she originated the role) had a superb voice and a commanding presence."

Abby Rowold, Broadway World
Cincinnati Opera makes history with Missy Mazzoli's 'Song from the Uproar'

"Fischer inhabited her role completely, and the composer wrote long, lyrical arioso for her."

Janelle Gelfand, Cincinnati Enquirer
New York Choral Society spans the centuries with Duruflé, Haydn masses

"The evening’s four vocal soloists gave good accounts of themselves, beginning with mezzo-soprano Abigail Fischer, who duetted affectingly with cellist David Heiss in the 'Pie Jesu' movement of the Requiem, accompanied only by organist David Ralph. Fischer returned in the Haydn to add her strong middle range to the solo quartet...."

David Wright, New York Classical Review
Duruflé's Requiem - New York Choral Society, Carnegie Hall

"One of the most memorable moments came in the quietest, most tranquil section of the work, Pie Jesu; here we heard only organ, a beautiful cello solo, and our soloist Ms. Fischer, who acquitted herself very nicely in that prayer."

Roman Markowicz, ConcertoNet
Chorus delivers beautiful 'Messiah'

"The vocal soloists brought their own choices to the performance, from mezzo Fischer’s warm, compassionate, powerful deliveries... to bass Burdette’s stirringly bold, sit-up-and-take-notice deliveries of movements such as 'Thus saith the Lord' and 'The trumpet shall sound.'"

Elaine Schmidt, Milwaukee Journal Sentinel
An adventurer’s tale, channeled by a spirited mezzo-soprano

"Eberhardt’s indomitable spirit was channeled through mezzo-soprano Abigail Fischer’s yearning, burning voice and transfixing physicality. Her phrases were voluminous but expertly restrained, and she ascended octaves as easily as a bird taking off.

Zoë Madonna, Boston Globe
Musical Tale of an Adventurous Woman

"The opera consists foremost of a challenging role for the mezzo-soprano who represents Isabelle. Abigail Fischer captures this role with astonishing force even though she barely moves—seated on a tall stool at first, occasionally standing or moving in its immediate vicinity, wrapping a shawl around her head like a burnoose worn by a desert nomad (suggesting with this simple image the masculine disguise), and once moving to the piano, sitting down on the bench with the pianist, and playing a melody as she sings. The vocal richness, covering a wide range in both pitch and intensity, focused the viewer’s attention on her throughout.... The individual songs range from elegies and poignant laments to vigorous assertions of personality and energy, and each mood and character was superbly delineated by Abigail Fischer."

Steven Ledbetter, Boston Musical Intelligencer
Resonant Bodies Festival Blends Freedom With Radiance

"The mezzo-soprano Abigail Fischer organized an array of pieces into a new, pan-spiritual liturgy.... Wearing flowing white robes, Ms. Fischer, the mezzo-soprano, walked the aisles and smiled benevolently at the audience as she sang, with a velvety tone, a series of slow-moving, steady pieces."

Zachary Woolfe, New York Times
The Tragedy of Carmen - Colorado Music Festival

"Abigail Fischer was a strong mezzo soprano.... she dominated her scenes, as she should."

Peter Alexander, Sharps and Flatirons
New Bedford Symphony plays Bernstein and Beethoven

"The four soloists, Karen Slack, soprano, Abigail Fischer, mezzo-soprano, Yeghishe Manucharyan, and David Kravitz, baritone, were thrillingly strong in voice ..."

Benjamin Dunham, Wicked Local Mattapoisett
Angel's Bone - Prototype Festival

"Abigail Fischer, as Mrs. X.E., has the most complex assignment. She accomplishes a number of protean shifts in her physical deportment, from severe suburban matron to society beauty to trashy talk-show celebrity, commanding the stage at each new incarnation. As far as I could make out, her mezzo-soprano is strong and dark in its lower ranges, while her top has a soprano-like thrust."

Fred Cohn, Opera News
Dystopia on Stage at Prototype Festival

"Mezzo Abigail Fischer’s wonderfully pitiless demeanor and chilly coloratura set up a Lady Macbeth-like Mrs. X.E."

Heidi Waleson, Wall Street Journal
Song From The Uproar – Los Angeles Opera

“Mezzo-soprano Abigail Fischer, who created the role, sang Eberhardt with confidence and poise and liquid phrases.”

Timothy Mangan, Orange County Register
Dancing lamps, a tortured piano: Illuminating objects and heavy concepts at the MATA Festival

“Mezzo-soprano Abigail Fischer gave voice to Mirela Ivičević’s mockery of the artist bio, Orgy of References (2012). The ironic piece began with a ventriloquistic series of ‘uhs’ from the theatrical and smoky-voiced Fischer, who eventually dived into an operatic recitation of Ivičević’s own resume.”

Rebecca Lentjes, I Care If You Listen
Santa Rosa Symphony Masters Mahler’s Third

“When the ‘Very slow’ fourth movement began, Fischer finally rose from her seat and revealed her glorious voice. Over pianissimo strings, she glided into the rich, low opening words of Nietzsche’s ‘Midnight song.’ ‘O Mensch! Gib Acht!’ (Oh people, give heed) she sang, with excellent enunciation and a resonant tone. She made each note count.”

Steve Osborn, San Francisco Classical Voice
Santa Rosa Symphony soars through epic Mahler piece

“The rich, marbled voice of mezzo-soprano Fischer struck just the right chord, and the softly sonorous voices of the women’s and children’s choirs — ‘Bim! Bom! Bim! Bom!’ — rang with angelic joy.”

Diane Peterson, Santa Rosa Press Democrat
New York Choral Society and The Mannes Orchestra: For Those We’ve Loved

“Mezzo-soprano Abigail Fischer’s rich, strong voice, capable of both wistful sweetness and sultry urgency, was well suited to the demands of the text [When Lilacs Last in the Door-yard Bloom’d: A requiem 'for those we love']: she was equally fine as Whitman’s persona, calling up nature’s – birds’ especially – songs of mourning and freedom and then, as a paradigm of America, singing the songs herself.”

Jean Ballard Terepka, New York Theater Scene
MATA Festival’s Sounds of Play

“Wednesday’s program played with extremes of light and dark. It opened with a wickedly entertaining performance by the mezzo-soprano Abigail Fischer of ‘Orgy of References’ by the Croatian composer Mirela Ivicevic. The piece pokes fun at the tedium of artist biographies through a recitation of names and accolades.”

Corinna da Fonseca-Wollheim, New York Times
THE SCARLET IBIS – New York Prototype Festival

“Abigail Fischer sang with a fullness and clarity that one often yearns for in singers of contemporary music.”

Steven Jude Tietjen, Opera News
A Puppet, Coercion and a Corpse

“As is often the case in children’s stories, the three adults, whose music has a folklike lilt, are in the background: Abigail Fischer is the sensitive Mother.”

Heidi Waleson, Wall Street Journal
COMEDY ON THE BRIDGE & ALEXANDRE BIS - Gotham Chamber Opera

“The role of Eva, Bedro’s intemperate wife in Comedy on the Bridge, could easily register as a harridan, but mezzo Abigail Fischer made her into a sympathetic figure.”

Fred Cohn, Opera News
Chamber Music Northwest 2014: a lustrous substitute leads a varied vocal program

“Fischer was lustrous and assured.... She made a lovely sound with beautifully supported legato. If you didn’t know that she’d stepped in at the last minute, you’d never have guessed. Moment of the night: Not necessarily the biggest moment, but Fischer’s singing of ‘Die Forelle’ was delightful.”

James McQuillen, Oregonian
Orchestra of St. Luke's Explores George Benjamin's Influence

“Mr. Benjamin’s ‘Upon Silence’ (1990), a setting of a Yeats poem with the pure, melting vocal line of a John Dowland melody, [was] sung on Sunday by the authoritative young mezzo-soprano Abigail Fischer.... With her dramatic tumble of red hair and cello-mellow voice, Ms. Fischer sings with a passionate restraint that has no equal in her generation. She blended in with the instruments, undulating like a stream underneath her, but her final word — ‘silence’ — was a penetrating unaccompanied cry. You didn’t want her to stop.”

Zachary Woolfe, New York Times
Upon Silence - Orchestra of St. Luke's

“Heras-Casado elicited sure-footed performances from the St. Luke’s players. The mezzo Abigail Fischer sang (George) Benjamin’s ‘Upon Silence’, a Yeats setting, with spiritual fire.”

Alex Ross, New Yorker
IL COMBATTIMENTO DI TANCREDI E CLORINDA - Gotham Chamber Opera at Met Museum

“The single-voiced role of the narrator was here split by tenor Samuel Levine and mezzo Abigail Fischer, who, dressed in business attire, blended in with audience members as they circled around the dueling duo. While their robust singing was not historically accurate in style, the muscular, lyric tenor of Levine was complimented by the dark, lithe voice of Fischer in providing a more diversified tonal palette for suspense and mourning to the usually singular role.”

Dimitri Kontos, Opera News
Gotham Chamber Opera at Met Museum
“A trio of ‘memory’ voices headed by the lush-sounding mezzo-soprano Abigail Fischer was one of a variety of interesting effects the composer used.”
James Jorden, New York Observer
A Valentino Not Worth Fighting Over
“The warring pair were physically expressive; tenor Samuel Levine and mezzo Abigail Fischer, sharing the narrator’s role and doing the majority of the singing, were equally eloquent, their full-bodied vocal performances accompanied by an excellent small ensemble of baroque instruments. … A tight trio of women, led by the expressive Ms. Fischer, sing her nightmare memories as an ominous vocal haze, and the narrative gradually gathers momentum until the trauma is finally revealed.”
Heidi Waleson, Wall Street Journal
Operas Unfolding at a Different Met
“Two narrators in modern suits (the tenor Samuel Levine and the luminous-voiced mezzo-soprano Abigail Fischer) relayed the action while walking around the circle [in the Arms and Armor Court].”

Vivien Schweitzer, New York Times
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