REVIEWS/NOTICES

Verdi's 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

Lisa in 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

Amy's debut at the Krannert Center for the Performing Arts: 

"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 

Evening of Opera and Cantorial Music, 
(Milwaukee, WI):

(reprinted with permission:)
"Dear Ms. Goldstein, 

"Thank you so much for coming to Milwaukee this past week. I was unbelievably impressed with your concert at Beth El Ner Tamid Synagogue. Your voice and the energy you impart to your music are compelling, captivating, and riveting. I cannot remember a more memorable or enjoyable concert. It is heartwarming to know that there are such great Jewish sopranos in the world who sing Jewish music. Everyone in the synagogue was moved by yours and your brother's performance and it will be a while before we talk about anything else at the shul! Meanwhile we just look at each other in amazement. Occasionally someone will say "oh my gosh,"  and everyone knows immediately that it reflects the inability to convey in words how impressed we were with the performance. Thank you again. It was such a treat to hear you. 

"Sincerely, 
David Gutterman, MD 
President, Beth El Ner Tamid Synagogue"

New York Premiere of 
Haydn's La Fedelta Premiata

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

--New York Post

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

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

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. (Soul of) Ashkenaz at Tully (Hall)".

--Leonard J. Lehrman

The Locrian Chamber Players

"Mr. Faiman's "Shakespeare Songs" were characterized pleasingly by Amy Goldstein."

--Allan Kozinn, The New York Times

Insect Comedy by Martin Kalmanoff with the Center for Contemporary Opera

"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

Grace Bumbry Competition

"The level of talent and mastery of skills demonstrated at the Grace Bumbry Student Assistance Award competition sponsored by AGMA Emergency Relief Fund was outstanding with eight exceptional singers chosen for the finals. The judges, Martina Arroyo, Chester Ludgin and Nedda Casei were so impressed by the abilities of the young contestants, first prize winners Amy Goldstein and Derrick Lawrence."

--AGMA Emergency Relief Fund Magazine