“…and soprano Sydney Mancasola were ideal choices for the leading roles of Orpheus and Eurydice. …Mancasola was nothing short of outstanding in the title role. She has a firmly focused, soprano instrument that soared over the orchestra. Not only did she negotiate the technical demands of the complex music to perfection, but she sang the role with nuance and temperament.” -Ed Tapper edgemedianetwork.com

“The singing was mostly excellent, with Sydney Mancasola the standout. She sang the role of Eurydice with devastating assurance, tossing off the role’s angular vocal flourishes with aplomb. Yet her tone imbued each line with the appropriate pathos — her aria at the end of Act 2 palpably conveyed the emotional despair of loving someone whose mind is always on something else.” -Aaron Keebaugh artsfuse.org

“As delivered by BLO newcomer Sydney Mancasola, a soprano with a sublime and expressive instrument, Eurydice’s arias were a month the most dramatically effective and emotionally affecting segments of the evening.” -A.Z. Madonna The Boston Globe

“Sydney Mancasola met the vocal challenges of the title role, with its high Ds, with verve and aplomb. The crystalline quality in her voice contrasted to great effect with the warm, burnished tones of Mark S Doss as her father. Their exchanges were a vocal highlight.” -Kevin Wells bachtrack.com

“Sydney Mancasola delivered the high-lying title role with aplomb. Singing with silvery tone, even projection, a big dynamic range, and miraculously precise intonation, her Eurydice was wholly sympathetic. In particular, Mancasola imbued her character’s two big arias—the first articulating the challenges of loving an artist and the second a letter to Orpheus’s future wife— with touching pathos.” -Jonathan Blumhafer Boston Classical Review

“It was a pleasure to see and listen to the American soprano Sydney Mancasola as Tytania, very balanced and confident on the scene as in the luminosity and brilliance in her timbre and her diction.“ -Ramon Jacques ProOpera.org

“The American Mancasola, physically his ideal companion,…has a voice of such quality as to prove to be more of a happy surprise. Soprano of agility with a persuasive timbre that colors the Queen of the fairies with softer and more humanizing tints than those of her companion.” -Georgio Audisio gbopera.it

“Sydney Mancasola in the role of Tytania, fascinating with her ethereal voice and her otherworldly interpretation” -Samantha Russotto fermataspettacolo.it

“In Genoa, Sydney Mancasola's Tytania shines for beauty of timbre and virtuosity.” -Giancarlo Arnaboldi connessiallopera.it

“…soprano Sydney Mancasola both incredible in vocal and scenic quality.” -Marie Gaboriaud premiereloge-opera.com

“Sydney Mancasola’s Mélisande was a shining presence. A versatile soprano, her voice was the perfect instrument for the heroine’s quiet phrases and rising passion. With a naturalness of expression, she brought sweetness and clarity to her singing which focused the drama, setting in motion the ensuing twists and turns of the plot. -Jane Rosenberg Seen and Heard International

“Sydney Mancasola’s Mélisande takes unusual agency. She may be a character unknowable to others, but as vibrantly sung by this versatile soprano (who was to have starred in a 2021 L.A. Opera production of Missy Mazzoli’s “Breaking the Waves” that had to be canceled because of the pandemic), she presents a formidable strength.” -Mark Swed Los Angeles Times

“Sydney Mancasola was a near-ideal Mélisande: neither the fey, frail wraith of some productions nor the knowing, willful little waif, but a credible, touching young creature.  Her singing was true and beautiful. -Truman C. Wang Classical Voice

“Soprano Sydney Mancasola is cast as Mélisande, her dulcet tones elegiacally mesmerizing” -Victoria Looseleaf San Francisco Classical Voice

“Of almost all the scenes, the creator of the role of Bess, the American soprano Sydney Mancasola, burns the set with her charisma as an actress ready for anything (in rather raw scenes), her mezzo voce held in a poignant lamento or her loving and mystical impulses with brilliant highs ("His name is Jan"). The most admirable being his voice extraordinarily worked towards the extreme of the range, a voice devoted to God that is doubled by an excellent fusion Aedes choir” -Christine Ducq ForumOpera.com

“The hypnotic Bess of Sydney Mancasola received a Herald Angel for this role at the Edinburgh Festival. It must be said that her performance is total both in singing and in her playing and stage presence. The Bess she proposes does not accept the half-measure and her sensitivity is transposed into her soprano voice. Her body moves in a light and flexible gesture, in accordance with her kindness. But sometimes, it is her madness that takes over, in these moments when her belief is transposed into a kind of schizophrenia, an inner dialogue that tears her apart.” -Lucine Bastard-Rosset TouteLaCulture.com

“Above all, the Californian soprano Sydney Mancasola, free and bright singing, a very natural scenic presence even in the most explicit sex scenes, draws a complex character,” -Benoit Fauchet Diapason Magazine

“It was essential to bring to life this drama close to the Greek tragedy that the performers were of a very high level: Sydney Mancasola, a young American soprano knows and seems to be inhabited by the character, present on stage for more than two hours, she is simply breathtaking. The extent of the roles already on her list (Mélisande, Pamina, Eurydice, Olympia) leaves us thinking but does not surprise us at all. She embodies the crazy love that leads to madness; but isn't it the essence of opera heroines?” -Philippe Pocidalo Résonances Lyriques

“The distribution combined is of exceptional homogeneity and quality. Sydney Mancasola's Bess bursts the screen, if we dare to write, in this overwhelming role, without pouring into excess, always master of magnificent vocal means adapted to the size of the Favart room.” -Oliver Brunel concertonet.com

“Adina, the beautiful and rich farmer, played by Sydney Mancasola is as sparkling as you want, mischievous and lively. She is a feast for the ears and eyes at all times. The soprano twirls like an elf, full of charm and mischief and performs vocal wonders in the belcanto register.”

JEAN-CHRISTOPHE MARY, TOUTELACULTURE.COM

“The soprano Sydney Mancasola with a sumptuous and light voice, combines the security and the homogeneity of her remarkable singing with a game of great finesse. Perfectly believable in the role of Adina to whom she gives an intensity, a rare sensitivity.”

DENIS SANGLARD, UNFAUTEUILPOURLORCHESTRA.COM

“The two lovers, played by two American singers, dominate the cast. Sydney Mancasola is a full-bodied and determined Adina with disarming highs of ease. The open vowels bring intelligibility to her Italian, as do the well-timed midrange and the refined phrasing. Flirtatious without being cutesy, she also knows how to touch without ever going overboard. The two compatriots, in addition to the scenic ease, the naturalness of the program, share an impeccable projection and youthful timbres with clear and warm palettes which create a very nice balance in their duets.”

TANIA BRACQ, FORUMOPERA.COM

“Sydney Mancasola shone in the title role, the whole performance building up to a bravura performance of her final air, ‘No, no, I’ll take no less/Than all in full excess!’ That full excess, alas, was to be truly hers, but was also seen and heard to characterize an exuberant performance from beginning to end.”

MARK BERRY, SEEN AND HEARD INTERNATIONAL

”The vocal set is dominated by Sydney Mancasola's performance in the title role. The American, who has gained a foothold in Europe in recent years (she was a member of the Frankfurt Opera troupe for three years) and who now flies on her own, sings a performance both stage and vocal that must be warmly saluted. Present on stage almost from beginning to end, she embodies a Semele ravaged by pride, doubt, impossible love, despair and then madness. She holds the distance vocally and strings her four consecutive arias to the III thanks to a confounding energy. She is the fire on stage out of the ashes, and closing her eyes (a feat anyway, as Kosky rivets the viewer's gaze on the stage!), we heard accents that reminded us of Daniele de Niese, who a few years ago was a magnificent Semele at the Tec. Her triumph with the public was well deserved. .”

THIERRY VERGER, FORUM OPERA

“Mancasola communicated her ambitions clearly with a lyrical vulnerability”

ZENAIDA DES AUBRIS, BACHTRACK

“Pamina was American soprano Sydney Mancasola making her WNO debut and offering a master class in how to follow the column of sounds up and down the rigorous aria, Ach itch fühl’s…”

WHITNEY FISHBURN, DC METRO THEATER ARTS

”Pamina, soprano Sydney Mancasola never sounded anything but clear as a bell and winsome as the moon rising behind her.”

SYDNEY BOYD, BACHTRACK

”Sydney Mancasola’s Pamina brings a master class of a performance in “Ach ich fühl’s” fully using the legato lines to demonstrate the character’s sadness and allowing her voice to travel up and down fully and freely, which is not easy to do in that aria.”

DANIELLA IGNACIO, DC THEATRE SCENE

”No need to go to New York this year; you can hear the same thing here in Washington. Of the three Mancasola sounded the best to me on Saturday night, singing with a rich lyric sound and considerable affect.”

ANNE MIDGETTE, THE WASHINGTON POST

”It’s masterful, and it’s brought to life by an extraordinarily committed cast, led by Sydney Mancasola as Bess. She’s a marvel, extracting every scintilla of possibility from her soprano voice, from euphoria to misery via delirium. This is a total tour de force, and the show is worth seeing for her alone.”

SIMON THOMPSON, SEEN AND HEARD INTERNATIONAL

Sydney Mancasola’s Bess is a compelling tour de force, encompassing every emotional extreme, forcibly dominating a cast that is equally well-served.”

KEN WALTON, THE SCOTSMAN

“American soprano Sydney Mancasola gave a towering performance, barely off the stage throughout, her physical journey from vulnerable God-fearing girl through a series of increasingly dangerous on-stage sexual encounters completely wrapped up in her misplaced religious convictions.”

DAVID SMYTHE, BACHTRACK

“As Bess in Missy Mazzoli’s 2016 opera…Mancasola is hardly off stage and charts the descent of her character from shy Skye bride to Christ-like victim with laser-like power and desperate vulnerability. Part of you wants to shake her out of it. Most of you wants to hug her. It’s an extraordinarily gutsy performance.

NEIL FISHER, THE TIMES

”…bravely enacted by Sydney Mancasola as Bess, an excellent soprano, who gives her all in a performance of touching sincerity.”

RUPERT CHRISTIANSEN, THE TELEGRAPH

“A top-class cast is led by the outstanding American soprano Sydney Mancasola as God-fearing Bess, febrile and loving”

FIONA MADDOCKS, THE GUARDIAN

”Sydney Mancasola is vocally and physically unstinting in attempting to realize the troubled figure of Bess.”

GEORGE HALL, THE STAGE

"Sydney Mancasola als Roxana war zugleich Verführerin wine Verführte. Mit vibratoarmer, klarer Stimme, betörte size, war aber auch die erste, die sich von den Verheißungen des Hirten verführen ließ.”

ALEXANDER RICHTER, BACHTRACK

"Sydney Mancasola, die amerikanische Sopranistin isn’t Ensemblemitglied der Oper Frankfurt. Eine Große Stimme. Sie gab unter bereits die Gilda hier am Haus.

ANGELIKA MATTHAUS, OPERN MAGAZINE

”Sydney Mancasola’s Roxana was gloriously sung”

MATTHEW RYE, OPERA MAGAZINE

“Mit großer lyrischer Intensität gibt die Sopranistin Sydney Mancasola seiner Frau Roxana eine heutige Fasson.”

STELFAN MICHALZIK, KULTURREDAKTION

“Sydney Mancasola verleiht ihr großes Format und bezaubernde
Töne.”

MARKUS GRÜNDIG, KULTURFREAK.DE

”Sydney Mancasola bringt ihren Sopran zum idealen Ausgleich der lyrischen mit den dramatischen Anteilen der sich zum Erlöserhirten bekennenden Konigin Roxana.”

MICHAEL KAMINSKI, THEATERPUR.NET

"Here it is so achingly beautiful, you'll be wiping a tear from your eye long before Violetta ascends to her reward...For this, blame Sydney Mancasola...(who) with this performance emerges as a full-blown star. Her voice is so pure and so powerful it could persuade angels to switch sides. But she doesn't rest on vocal technique. She absolutely inhabits the part, making a completely convincing Violetta. Even when the libretto doesn't really give much explanation for Violetta's various changes of heart, this talented performer pulls you along...It's a marvelous trick, being able to convincingly portray terrible weakness even while your voice remains strong. Mancasola pulls it off"

SARAH FENSKE, RIVERFRONT TIMES

"Since Racette has brought multiple versions of Violetta to the stage it should come as no surprise that she has taken great care in turning the role over to Sydney Mancasola, a promising and powerful soprano whose decimating turn in the lead role will undoubtedly propel her to greater heights."

ROB LEVY, REVIEWSTL.COM

"Within this beautiful frame we are treated to some astonishing voices. Sydney Mancasola brings to the role of Violetta not only a stellar voice, but also the stunning beauty that Violetta should have. She deftly manages the coloratura vocal acrobatics that the role demands. She shines like a silver thread above the chorus. And how can that slender body contain the power she brings to those perfect high-notes?"

STEVE CALLAHAN, BROADWAYWORLD.COM

"Sydney Mancasola not only looks stunning as the free-spirited Violetta but also shapes her wonderful soprano around Verdi’s soaring arias for his leading lady. She also displays a strong chemistry with Geoffrey Agpalo, a tenor who shows conviction in the part of the devoted young lover Alfredo as well as demonstrating his own musical talent in the role. Both performers offer convincing portrayals of opposites attracting.

MARK BRETZ, LADUE NEWS

“ Soprano Sydney Mancasola is beautiful and slender, with a true and well-produced instrument. Sympathetic as the doomed courtesan, she brought out Violetta’s strength as well as her vulnerabilities in a well-rounded performance."

SARAH BRYAN MILLER, ST LOUIS POST-DISPATCH