amina-6469.jpg

PRESS

"Amina Edris brought a fitting petulance and fiery vocal ornamentation to Glycere, who, jealous of Sapho, manages to wangle her out of the picture (hence her suicide), in a stirring duet and later trio in Act II. "

WASHINGTON POST

ALICE | OPÉRA NATIONAL DE BORDEAUX

"Justement, la soprano égyptienne Amina Edris (Alice, fidèle vassale de Robert qui lui évite les enfers), dispose d’une voix pulpeuse agitée d’un vibrato rond et tonique. Son timbre tendre et chaud dans les médiums...Ses vocalises sont précises, portées par un souffle long. Son legato délicat est soigné et ses lignes nuancées."

{"...the Egyptian soprano Amina Edris (Alice, Robert's faithful vassal who spares him from hell), has a luscious, agile voice with a round and youthful vibrato. Her tone is soft and warm tone in the midrange... Her vocalizations are precise, carried by a long breath. Her delicate legato is precise and its lines nuanced."}

OLYRIX

"Mais la plus grande surprise vocale provient de la chanteuse egypto-néo-zélandaise Amina Edris (elle nous a accordé un entretien) qui campe une magnifique Alice : l’émission surprend par son ampleur, le timbre est beau, le souffle long, et ses écarts de registre ne manquent pas d’impressionner, sans compter qu’elle s’exprime dans un français plus que chatié."

{"But the biggest vocal surprise comes from the Egyptian-New Zealand singer Amina Edris (she gave us an interview) who portrays a magnificent Alice: the voice surprises [us]  with its scale, the tone is beautiful, the breath long, and [her mastery of the] passagio does not fail to impress, not to mention that she speaks in a French more than 'chatié.'"}

OPÉRA ONLINE

"Lyric soprano Amina Edris portrayed the role of Alice. She has a velvety timbre, with an even, fair vibrato. In spite of her big volume, she has an astonishing ability to sing pianissimi and extreme diminuendi in her top register. She proved this during her entrance aria “Vá! vá! vá! Dit elle” which, although written mostly in the middle register of the voice, has several ascensions to B naturals, all of which Edris emitted with crystalline tone. After the second Act, she returned to the stage to sing “Quand je quitais la Normandie” which follows the same musical pattern as the first appearance. She sang with her expansive dark center, rising easily again to several B naturals, and even a high C in the final cadenza, all while maintaining even rich harmonics throughout her entire register."

OPERAWIRE

"...la jeune soprano égyptienne, Amina Edris, ressuscite d’une voix longue au timbre enveloppant, l’ingénuité d’Alice, ses écarts de registre et le tracé voluptueux d’une ligne qui s’affine dans l’aigu."
 

{"... young Egyptian soprano, Amina Edris resuscitates Julie Dorus-Gras  with an impressive vocal range with an enveloping timbre, Alice's ingenuity, her changes in register and the voluptuous outline of a line which is refined in the upper register."}

FORUMOPERA

ROBERT LE DIABLE

b78477fe-8aaa-4a55-8e66-3c47565c3419.jpg

MANON

MANON | PARIS OPERA

"Amina Edris literally brought the Opera Bastille to their knees thanks to her unparalleled portrayal of the title-role, vocally as much as theatrically…The warm colours of her timbre lack no allure and, the cherry on the cake, her French is impeccable….A fine actress, Amina Edris moves with elegance on stage and carries her lavish costumes beautifully.”

FORUM OPERA

“Amina Edris immediately asserts herself in Paris, offering an exquisite articulation in the French of Philippe Gille and Henri Meilhac (librettists of this opus) as in the musical phrasing of Massenet, including in the most demanding passages, which find ample support.  The voice rises thus, always rich and built towards the upper register.  She laughs there with ornaments reinforcing the candid youth of this character (who had just turned 16)."

“Probably the great discovery of the evening was the Egyptian-American soprano Amina, who was featured in the title role. The artist's voice has a solid and well placed medium register with a great projection and blooming lows, which are perfectly audible and in the upper register the voice easily reaches high C; this is all combined with a pleasant, caressing timbre. In addition, a clear and natural diction that we even often missed with French singers. At the final applause, the audience was literally on their feet, and rightly so.}

OLYRIX

IOCO

MANON

MANON | PARIS OPERA

"Amina Edris literally brought the Opera Bastille to their knees thanks to her unparalleled portrayal of the title-role, vocally as much as theatrically…The warm colours of her timbre lack no allure and, the cherry on the cake, her French is impeccable….A fine actress, Amina Edris moves with elegance on stage and carries her lavish costumes beautifully.”

FORUM OPERA

“Amina Edris immediately asserts herself in Paris, offering an exquisite articulation in the French of Philippe Gille and Henri Meilhac (librettists of this opus) as in the musical phrasing of Massenet, including in the most demanding passages, which find ample support.  The voice rises thus, always rich and built towards the upper register.  She laughs there with ornaments reinforcing the candid youth of this character (who had just turned 16)."

“Probably the great discovery of the evening was the Egyptian-American soprano Amina, who was featured in the title role. The artist's voice has a solid and well placed medium register with a great projection and blooming lows, which are perfectly audible and in the upper register the voice easily reaches high C; this is all combined with a pleasant, caressing timbre. In addition, a clear and natural diction that we even often missed with French singers. At the final applause, the audience was literally on their feet, and rightly so.}

OLYRIX

IOCO

ROMEO ET JULIETTE

JULIETTE| SAN FRANCISCO OPERA

“With Gounod’s famed “Je veux vivre” Mlle. Edris took command of the stage, revising this aria from its usual status as a soprano showpiece to become the portrait of a young girl full of life, ready to fall in love. Mlle. Edris possesses a beautifully colored, burnished tone, rare for a lyric coloratura soprano, her voice fully capable of sailing through the brilliant coloratura to create a freedom of spirit that we know will soon be crushed."

OPERA TODAY

LES INDES GALANTES

FATIME | GRAND THEATRE DE GENEVE

“…Egyptian soprano Amina Edris outshines them in the eyes of the audience thanks to her famous aria « Papillon inconstant », which she delivers in an equally exquisite and radiant way."

OPERA ONLINE

“Amina Edris as Fatime, who dazzles in the famous “Papillon Inconstant'”

CONCERTONET

SAPHO

GLYCÈRE | NEW ZEALAND OPERA

"Amina Edris brought a fitting petulance and fiery vocal ornamentation to Glycere, who, jealous of Sapho, manages to wangle her out of the picture (hence her suicide), in a stirring duet and later trio in Act II. "

WASHINGTON POST

"Soprano Amina Edris made a smashing company debut as the viperous Glycère, for whom Gounod took advantage of the acid side of the soprano voice to characterize a villain. She deployed laser precision in vaulted runs upward and pointed high notes to spit venom at her rival."

WASHINGTON CLASSICAL REVIEW

"Ms. Edris is a perfect foil for Sapho, exuding sexuality and cunning with every note she sings and every precise movement she makes. It helps that she has some of the most natural posturing throughout the night, giving her an ease to everything she does."

BROADWAY WORLD

"Amina Edris was the perfect casting choice for Glycère, from her alluring soprano voice to her commanding red dress, you knew from the moment she stepped on stage that she would go to any length to exact revenge on Sapho."

MD THEATRE

L'ELISIR D'AMORE

ADINA | NEW ZEALAND OPERA

"Both Amina Edris and Pene Pati were frankly adorable, vocally and dramatically. Her voice has an intriguing, throbbing vibrato and she has an instinctive way with the bel canto phrases, especially noticeable in the languorous and longing “Quanto amore” duet with Dulcamara. The final climactic aria, too, was expertly executed, full-toned and ravishingly phrased in the cavatina and with pinpoint vocal divisions in the cabaletta. Her Adina was a complicated creature, veering naturally from flirty and vexatious in the first act to a truly touching realisation of her love for Nemorino."

BACHTRACK

"Amina Edris as Adina was the star on the night for me. Her Adina is clever and complex and Edris brought this out in the role and with wonderful singing. The big arias like ‘Della crudele Isotta’ soared."

"Amina Edris...is flowing and silky in effortless delivery of the runs, notes and lyrics...a delight to see and hear. Her aria in the final stages of Act II, ‘Prendi’ (“Take it – through me you’re free again”) is sheer beauty. Her various duets are beautifully balanced and generously shared."

RADIO NZ

THEATREVIEW NZ

 "...the heart soaring beauty of Edris’s performance of ‘Prendi, per me sei libero’...many of those present tonight completely enamored by Edris’s portrayal of Adina where she mixes just the right amount of independent sass with the often ill thought arrogance of the attractive and wealthy." 

RADIO NZ

IN RECITAL

WITH WARREN JONES

“Of the three, Edris proved most adept at shaping the size and impact of her voice to the circumstances. In particular, a set of four songs by Reynaldo Hahn just before intermission found her singing with a well-judged balance of intimacy and power, bringing a beautifully polished surface to “L’heure exquise” (“The Exquisite Hour”) and stately glamour to the pseudo-Baroque phrases of “À Chloris.” She brought even more liveliness and theatricality to music by Rossini in the second half, delivering the passagework of “The Shepherdess of the Alps” with keen precision, and joining forces with Pati (her brother-in-law in real life) for an ardent account of “La serenata.” 

SAN FRANCISCO CHRONICLE

IN RECITAL

WITH STEVEN BLIER

“Edris has an attractively focused tone, capably blending sophisticated sparkle with seductive darkness. She can flirt as a saucy seductress and show simple emotion in more serious numbers. She also was clearly having a good time interacting with her masculine mates.” 

THE BAY AREA REPORTER

FLIGHT

TINA | OPERA PARALLÈLE

"Amina Edris proved an ideal vocal fit for Tina, producing a big sound with lots of ping and smooth phrasing. Her enraged coloratura in the opera’s second half was particularly funny and technically impressive."

SAN FRANCISCO CLASSICAL VOICE

THE FUTURE IS NOW

SAN FRANCISCO OPERA | ADLER FELLOW CONCERT 2016

“Following this came a surprise highlight of the concert — the aria 'Robert, toi que j'aime' from Meyerbeer’s rarely heard Robert le diable, sung here with consummate vocalism by soprano Amina Edris. Egyptian-born Amina Edris, who excelled as Norina in a 2015 Merola production of Donizetti’s Don Pasquale, was absolutely stupendous in the role of Isabelle in this difficult aria from Meyerbeer’s Robert le diable. The aria itself was totally unknown to me, but Amina Edris navigated its difficult roulades with utterly amazing vocal agility. This was truly remarkable singing.”

THE BERKELEY DAILY PLANET

“Edris dazzled with masterful legato in Isabelle’s aria from Giacomo Meyerbeer’s Robert le diable, and an amazing staccato as Oscar in the program-closing excerpt from Verdi’s A Masked Ball.”

SAN FRANCISCO

CLASSICAL VOICE

“...Edris in a gorgeously forthright and eloquent paced aria from Meyerbeer’s 'Robert le Diable.'"

SAN FRANCISCO CHRONICLE

“A delightful comic turn by soprano Amina Edris and tenor Pene Pati, who sang 'Quoi? Vous m'aimez?' from Donizetti’s La Fille du Régiment. If anyone ever doubted that Amina Edris is not only an exceptional singer but also an outstanding actress, her portrayal of Marie’s vacillating affections for Tonio in this flirtatious duet provided all the proof needed. Along with Pene Pati as Tonio, Amina Edris as Marie was totally in command of this scintillating duet.”

THE BERKELEY DAILY PLANET