Vocalist - Mezzo-Soprano
Acclaim
 
Phyllis Pancella (Rinaldo) in Rinaldo, Central City Opera, 2009
Closing down Central City: 'Rinaldo'
"Pancella was at her prime in 'Or la tromba', matching her vocal acrobatics and embellishments with the four equally impressive trumpets."
Charles Downey, Ionarts
Central City Cintillates
"I am even more in awe of the artistry of Phyllis Pancella ..."
David Sckolnik, Colorado Springs Gazette
Soprano Megan Hart, left, is a star in the making as Almirena, and mezzo-soprano Phyllis Pancella conveys a convincing masculinity in the title role of "Rinaldo."<br />
A spellbinding staging of "Rinaldo"

"But it is the women who dominate this production, starting with mezzo-soprano Phyllis Pancella, who offers a compelling, nuanced portrayal of the title character, managing to invest him with a convincing air of masculinity.

"This multidimensional singer was at her best in the climatic aria of Act 1, powerfully conveying Rinaldo's dual emotions, as he achingly pours out his despair over the loss of Almirena and then defiantly vows revenge."

Kyle MacMillan, Denver Post
St. Matthew Passion Unveiled
"Mezzo-soprano Phyllis Pancella, with a rich, warm sound, was particularly good in 'Ah, now is my Jesus gone!' ('Ach, nun ist mein Jesus hin')."
Linnea Leonard Kickasola, The Curator
"That superb artist Phyllis Pancella grounded the evening as a compelling, multifaceted Lucretia -- not neglecting, as some do, her inherent sensuality. She looked well, crafting a portrayal rich in detail of movement, glance, and utterance. In the intimate acoustic, her richly colored mezzo's lower register could be appreciated."
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David Shengold, Gay City News
Lucretia (mezzo-soprano Phyllis Pancella, center) is attended to by her servants, Lucia (soprano Sarah Jane McMahon, left) and Bianca (mezzo-soprano Maria Zifchak) in Central City Opera's production of "The Rape of Lucretia."
"As expected, the clear standout in this strong cast is mezzo-soprano Phyllis Pancella, who sculpts a wonderfully nuanced portrayal of Lucretia, both as the upbeat wife longing for her husband to return from war and the decimated, near-mad woman after the rape.

The moments after the crime could hardly be more convincing, as she slides across the floor and wraps herself into a fetal ball. Then, and in the scene following, this clear, straightforward singer makes haunting use of her forceful lower register." Read More...
Kyle MacMillan, Denver Post
"In Phyllis Pancella's engrossing, richly sung performance, Lucretia's virtue remains a source of strength even as she recognises that suicide is her only option." Read More...
George Loomis, Financial Times (UK)
"Phyllis Pancella's Lucretia is a three-dimensional woman of purity, devotion, strength and, tragically, idealism - sung with a richly colored mezzo that seemed to grow in scope and focus as the opera proceeded."
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Marc Shulgold, Rocky Mountain News
"It's brilliant theater, and the CCO has assembled a stellar cast headed by Phyllis Pancella in the title role. Always a compelling interpreter, the veteran mezzo is movingly sweet as she sits Penelope-like at her spinning wheel -- only to be mercilessly raped by Tarquinius, head honcho of the uncivilized Etruscans now ruling Rome.

In the wrenching scene before her death Pancella's balance of rage and delicacy evokes an image of Shakespeare's deranged Ophelia." Read More...
Wes Blomster, Daily Camera (CO)
"Phyllis Pancella made a leggy mankiller moll of Eduige, tossing off the coloratura runs with sassy charm." [RODELINDA - San Francisco Opera]
South Florida Sun-Sentinel
"Phyllis Pancella, singing with handsome sheen, gave brilliant physical and verbal life to the Secretary - as sharp on comic period inflections and mannerisms as a Nancy Walker..." [THE CONSUL - Arizona Opera]
Opera News
"Mezzo Phyllis Pancella...was fiery and alert in the faster numbers..." [Handel's MESSIAH - Boston Baroque]
Boston Globe
Total: 42 (Viewing: 31–42)