News and Reviews

Transcontinental Music

March 2012 – Amy was just offered her first contract with the world’s most preeminent Jewish publishing house, Transcontinental Music, for her editing of her father’s choral masterpiece, “Shalom Ba-Olam” (Cantor Jacob Goldstein).


Sisterhood Musical Passover Seder

On  Tuesday March 20th at 6:30 p.m., Amy will serve as creator and leader of a NYC multi-synagogue Sisterhood Musical Passover Seder at Sutton Place Synagogue in New York City.


Guest Soloist, Congregation Temple Or Elohim

Amy will serve as Guest Soloist at Congregation Temple Or Elohim in Jericho, NY, on May 20th, 2012

 


Master Class with Keith Harris on February 26th

A Master Class was presented featuring Ms. Goldstein and Met baritone Keith Harris on February 26th at Ripley-Grier Studios, 939 8th Avenues from 3-5 p.m. For more information please contact anauraine@gmail.com.


Amy’s work with Metropolitan Opera baritone Mark Oswald

Starting in 2011, and continuing to the present, Amy has been appointed assistant/associate voice teacher to Metropolitan Opera baritone Mark Oswald.

 


Assistant High Holiday Cantor to Cantor Mo Glazman, Congregation Kol Ami

In 2011, Amy served as Assistant High Holiday Cantor to Cantor Mo Glazman, at Congregation Kol Ami of White Plains, NY.


Amy at Sutton Place Synagogue in New York City

Starting in 2011 and presently, Amy is leader of Friday Night Lights interactive Shabbat Services at Sutton Place Synagogue of New York City. Services are held on a bi-monthly basis from 6:15 to 7:15pm, followed by a kiddush. Also at Sutton Place, Amy was creator and leader of a Sisterhood Rosh Chodesh Ceremony on January 25th, 2011.


The Music of the Composers of Terezin

Amy performs at the Synaplex Concert, The Music of the Composers of Terezin, Script and concept by Amy Goldstein; Jonathan Faiman, piano; Jonathan Comisar, narrator; December 2011,  Congregation Kol Ami of White Plains, NY.


The Music of Jonathan Comisar

Amy performs in the Synaplex Concert, “The Music of Broadway star Jonathan Comisar”, October, 2011 at  Congregation Kol Ami in White Plains, NY.


The Theme of Light in Vocal Music

Amy performs a Synaplex Concert at Congregation Kol Ami of White Plains, on theme of light in vocal music, December 2010, with Jonathan Faiman, piano.


An Evening of Yiddish Theater and Israeli Masterpieces

December 4, 2010, at 7 p.m.
With Cantors Jacob, Fredda and Daniel Mendelson.

Larchmont Temple, 75 Larchmont Avenue, Larchmont NY, 10538 Tel: 914.834.6120.


New York Times, Gimpel Tam at National Yiddish Theater Folksbiene

“…it offers tunes that range from the hand-clapping to the heart tugging…and the lovely voice of Amy Goldstein in the songs ‘Fort a Shlitn Oyfn Shney’ (‘A Sled Glides Through the Snow’) and ‘Shluf Mayn Kind’ (‘Sleep My Child’).”

–Lawrence Van Gelder,
The New York Times


Anchorage Daily News, Verdi Requiem

“Returning to Anchorage after her triumph here in Bellini’s La Sonnambula, New Yorker Amy Goldstein illustrated why wags refer to Verdi’s Requiem as his greatest opera. Her stage presence indicated deep reverence and humility. The sacred role’s dramatic force possessed her entirely by the concluding ‘Libera me, Domine.’ Her intensity brought Latin, that deceased language, back to life in this Mass for the departed. In duets with Weiler, this duo sang flawlessly…Afterward, some concert-goers expressed the opinion that this was the most exciting locally produced performance they had ever attended”.

–Philip Munger, Anchorage Daily News


Anchorage Daily News, La Sonnambula

“Amy Goldstein as Lisa provided the velvet tones to compliment the leads. Goldstein’s rich soprano and sadder, jealous character were a perfect compliment to Gamberoni’s Amina.”

–Julia Sopalski, Anchorage Daily News


Champaign-Urbana News Gazette, Concert review

“In a group of four songs from Shakespeare’s Twelfth Night, Goldstein revealed distinctive talents as a singing actress. She moved with ease from the pathos of ‘Come Away Death’ to the waltz rhythms of ‘I am Gone, Sir’, and then to the bluesy Broadway idiom of ‘When That I Was and a Little Tiny Boy’. The program ended with Goldstein singing five songs by Ives, arranged by Jonathan Faiman for violin, cello and piano. Goldstein’s voice beautifully conveyed the impulsive, enthusiastic mood of ‘At the River’, and her rapt interpretation of ‘The Light that is Felt’ had some lovely legato singing. At the end of the set, Goldstein sang with gusto a poem about Charlie Rutlage. As Encore, Goldstein sang ‘Ever of Thee’, and sang this lovely melody with touching pathos”.

– John Frayne, Champaign-Urbana News Gazette, March 2004


New York Post, Haydn’s La Fedelta Premiata (New York premiere)

“But pride of place must go to Amy Goldstein, who sang the challenging music with impressive ease and authority.”

–New York Post


London Times, Dialogues of the Carmelites

Dialogues of the Carmelites, role of the New Prioress at the Britten-Pears Festival

“But Poulenc does not shy away from big moments and set pieces…the New Prioress’s beautiful Act II monologue is one such with Amy Goldstein solid in voice as the firmly resolved Madame Lidoine, the New Prioress.”

–The London Times


New Jersey Star Ledger, Mahler 4

Mahler’s 4th Symphony, with the New Philharmonic of New Jersey:

“The brightest part of the performance was the finale, sung with charm and grace by soprano Amy Goldstein, who was, as it turned out, as last-minute substitute. One would never have known if Hyman had not made the announcement beforehand. She seemed perfectly poised, very much on top of a piece that is as complicated as only such a combination of high ambition and false simplicity can be.”

–Peter Spencer, The New Jersey Star Ledger


Leonard J. Lehrman, Soul of Ashkenaz at Alice Tully Hall

World premiere performance of Voices from the Shadow by Gershon Kingsley:

“In the climactic second half, Rhoda Levine staged the world premiere of Voices from the Shadow, a musical-theatre piece on poetry of the Holocaust by Gershon Kingsley (b. 1922). Four adult soloists, one child (used primarily as a quasi-audience prop), clarinet and string quartet were conducted from the piano (and accordion) by Jonathan Faiman. Spare but effective, the piece jumped from Yiddish to English to French to German to Czech, never flagging in interest and intensity. Mary Catherine George, Amy R. Goldstein, John Capes, and Larry Picard were the dedicated, focused soloists.”.

–Leonard J. Lehrman


New York Times, Locrian Chamber Players

The Locrian Chamber Players:

“Mr. Faiman’s ‘Shakespeare Songs’ were characterized pleasingly by Amy Goldstein.”

–Allan Kozinn, The New York Times


Opera News & Opera Review, Center for Contemporary Opera

For her roles in Insect Comedy by Martin Kalmanoff:

“A composer who has to wait thirty years to see his major opera produced can be gratified with a cast that CCO mustered…Amy Goldstein and others, most in multiple roles, filled their assignments well…”

–John W. Freeman, Opera News

“Thirty-three roles were performed by 20 singers, all of them excellent,…with Amy Goldstein usually virtually unrecognizable in multiple roles, all outstanding.”

–Leonard Lehrman, Opera Review