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Read press and features about Ms. Edris. For announcements and recent news, click here.

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

DON PASQUALE

NORINA | MEROLA OPERA PROGRAM

"Edris took top honors in the cast, boasting a lustrous, well-projected soprano that delivered the role with clarity and considerable verve. The New Zealand native is a fine singing actress — bright, vivacious, and specific in movement and gesture — and her Norina was both smart & irresistibly funny.”

OPERA NEWS

“Edris boasts plenty of vocal power and presence, as well as a wealth of vocal coloration, and at first it seemed as though she might overwhelm the more delicate aspects of the score. But she quickly proved able to modulate that power in the service of ingratiating lyricism, while still mustering enough force and precision to dispatch the role’s more demanding coloratura. As an actress, she endowed Norina with both charm and determination.”

“...among highlights of the matinee, along with Amina Edris’ star performance as Norina, the object of everyone’s attention. The soprano from Christchurch built the vocal performance throughout the opera, gaining focus & strength to a brilliant finish."

SAN FRANCISCO CLASSICAL VOICE

SAN FRANCISCO CHRONICLE

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

MEROLA GRAND FINALE

JULIETTE | MEROLA OPERA PROGRAM

“One especially impressive episode came in the second half's performance of the Act IV duet from Gounod's "Roméo et Juliette." With soprano Amina — who was an outstanding Norina in last month's "Don Pasquale" — joining tenor Christopher Bozeka, the scene yielded an electrifying mix of vibrant tone, articulate phrasing and dramatic fervor.”

MERCURY NEWS

“Among the singers who managed to shine even under the circumstances were soprano Amina Edris and tenor Christopher Bozeka, who joined forces for a tonally lustrous and expressively captivating account of the love duet from Gounod’s “Roméo et Juliette.”

SAN FRANCISCO CHRONICLE

CARMEN

FRASQUITA | SAN FRANCISCO OPERA

“Carmen joins forces with a pair of dubious women friends (tauntingly sung by Amina Edris and Renée Rapier)."

SAN FRANCISCO EXAMINER

"Soprano Amina Edris in her SFO debut and mezzo-soprano Renée Rapier were appealing and entertaining as Carmen’s friends Frasquita and Mercédès.”

SAN FRANCISCO EXAMINER

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

LE NOZZE DI FIGARO

SUSANNA| OPERA SAN JOSÉ

“Amina Edris, as Figaro's fiancée, Susanna, sang so vivaciously that she received the loudest ovations of the evening. Her chemistry with Wager was heartfelt, and the soprano's uncommon performance of 'Deh, vieni, non tardar' was laced with well-placed expressivity and colors.”

MERCURY NEWS

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