Vocalist - Mezzo-Soprano
Acclaim
A Recognizable Style, From the Moment It Starts
“If the ‘Song From the Uproar’ selections felt most urgent, that was largely because of the involvement of the serenely captivating mezzo-soprano Abigail Fischer, for whom Ms. Mazzoli wrote the piece and who invested everything she sang with rapt concentration and velvety, even tone. And disarming intimacy, too: Mahler’s ‘Ich Bin der Welt Abhanden Gekommen,’ in George Lam’s arrangement for voice, piano and clarinet, might have been a cabaret torch song.”
Zachary Woolfe, New York Times
Contrasting Humors of Haydn
“The singers were uniformly excellent: mezzo-soprano Abigail Fischer has a voice that reminds me of Kathleen Ferrier, but a bit firmer and gathered.”
Brian Schuth, Boston Musical Intelligencer
Present Music explores passion, harmony in 'Judgment of Midas'
“As Franny, Abigail Fischer's burnished mezzo-soprano won the evening’s vocal honors against tough competition.”
David Lewellen, Milwaukee Journal Sentinel
New Opera both elegant and rowdy at Present Music
“Fischer, as Franny, got most of the good punch lines and she knew what to do with them.”
Tom Strini, ThirdCoast Daily
Two Composers Mixing a Salad of Genres
“Abigail Fischer sang [‘You Are the Dust’ and ‘Mektoub’, two evocative, alluringly melodic excerpts] with a suppleness and intensity that emphasized their meditative qualities and underlying drama.”
Allan Kozinn, New York Times
"Missy Mazzoli's opera 'Song From the Uproar: The Lives and Deaths of Isabelle Eberhardt,' in its world-premiere engagement at The Kitchen, was also centered on a very potent singer, mezzo-soprano Abigail Fischer, whose throbbing low register and open-hearted performing style reminded me of Lorraine Hunt Lieberson."
Heidi Waleson, Wall Street Journal
Review: Song from the Uproar
"Gracefully androgynous, mezzo-soprano Abigail Fischer makes for a spellbinding heroine. Her throbbing, claret voice turns raw with pain against the blistering sound of the electric guitar when she learns of her husband's betrayal, and her face glows from within as she hails the ‘blanket of blazing stars' ready to welcome her in death."
Marion Lignana Rosenberg, Time Out New York
Crackling Vignettes From an Adventurer's Life: 'Song From the Uproar' at the Kitchen
"The mezzo-soprano Abigail Fischer [is] a riveting protagonist. In the emotional efficacy and irresistible magnetism of Ms. Fischer's performance and in the electric surge of Ms. Mazzoli's score you felt the joy, risk and limitless potential of free spirits unbound."
Steve Smith, New York Times
A Brazen Scheme to Win The Daughter of a Count
"The cast and chorus were talented and confident, led by the poised, rich-voiced Cherubino of the adventurous mezzo-soprano Abigail Fischer."
Zachary Woolfe, New York Times
BWW Reviews: Union Avenue Opera's LA CENERENTOLA (CINDERELLA) Enchants
"Abigail Fischer makes for a lovely presence both vocally and physically as Cenerentola, and shares a captivating chemistry with tenor Keith Boyer as Prince Ramiro. Both prove capable of handling the demands of Rossini's score which weaves vocal parts in and out and together in sometimes confusing, but ear-pleasing fashion."
Harrison Kaplan, Broadway World
The Music of Jennifer Fitzgerald
"Mezzo-soprano Abigail Fischer peeled the paint off the ceiling as she filled the house with incredible sound. Collaborating with pianist Kirill Zikanov, her performance of ‘Fingers 1' (2007) wasn't just passionate, it was thrilling!"
Karen E. Moorman, Classical Voice of North Carolina
Strunk, White--And Good Grammar Set to Music
"The work was impressively executed by soprano Abigail Fischer."
Andrew Cohen, Newsweek
From Stravinsky to Mozart, two spirited showings
"Mezzo Abigail Fischer's sound was sumptuous in ‘Cat's Cradle Songs.'"
Richard Dyer, Boston Globe
Total: 43 (Viewing: 31–43)