opera | concert

in the title role of NORMA:

“...soprano Caroline Whisnant is radiant as Norma. Her incredible vocal techniques are equaled by her mesmerizing acting abilities to make this portrayal not only dramatically convincing but musically beautiful beyond belief. It is a performance of consummate artistry from beginning to end and simply spectacular to behold.”  (Des Moines Register)

“NORMA at DMMO was one of the best performances ever in Des Moines, with Caroline Whisnant as [Norma]. Whisnant made one of the most difficult scores in all opera a huge hit in Indianola.”  (cityview, Des Moines)

“Caroline Whisnant showed that she had the high notes, the coloratura, the fine spun pianissimi and the dramatic force to be a commanding Norma.”  (Opera Japonica)

in the title role of TURANDOT:

“Appearing haughty and demanding from high atop her tower, Caroline Whisnant unsheathed her formidable voice on the jagged lines of "In questa reggia" ("Within this palace"). She had power and enough steel to cut through the orchestra, but she also went beyond the big moments, offering creamy tone for intimate phrases.”  (The Oregonian, Portland)

“Finally, Caroline Whisnant is riveting as Princess Turandot. As her icy, haughty elegance melts into fervent ardor, her voice gains a magnificent radiance.”  (Des Moines Register)

“Put simply, Caroline Whisnant’s Turandot and Sally Dibblee’s Liu are as fine a pairing as you are likely to find in such a piece...As for Whisnant, the challenge of singing initially from several dozen feet in the air merely confirmed utter technical confidence. Her cruelly exposed notes came out dead on pitch, often at astounding volume.”  (Courier-Journal, Louisville, Kentucky)

in the title role of TOSCA:

“...the soprano’s beautiful young diva displayed every emotion expected of her...Whisnant’s voice possesses a rich bloom capable of conveying Tosca’s volatile personality, combined with expressive gestures.” (Opera News)

“Soprano Caroline Whisnant completely inhabited the title role both dramatically and vocally. Alternately coy, vulnerable, and passionate, Whisnant demonstrated at every turn that she knew exactly what she was singing -- and why. Hers is a large voice with complete ease at the top but an equally powerful chest tone. She manifested a fine control of dynamics and passagework from an exquisite balance of forte and pianissimi in her second act "Vissi d'Arte" to her increasing outbursts of jealousy in Act 1. And rarely has this reviewer seen two linchpin moments performed as unstudied but dramatically plausible as in this performance: The first, when Tosca first glimpses the knife on Scarpia's table, hesitates to use it, but ultimately does so; the second was her transition from relieved joy to growing horror when she discovers that her lover's execution is not bogus.”  (Ithaca Journal)

“...in Act I of TOSCA, Whisnant played the vocalist’s temperamental flare-ups and persistent jealousy with ease...Whisnant’s ‘Vissi d’arte’ —Tosca’s autobiographical song about dedication to art, faith, and charity —was full of velvety melodic lines and secure high notes, deserving its 45 seconds of applause.”  (The Commercial Appeal, Memphis, Tennessee)

in the title role of FIDELIO:

“Beethoven opera ‘FIDELIO’ soars, thanks to soprano Whisnant.”  (Des Moines Register)

“...it is a dramatic soprano voice such as Whisnant’s, powerful and tonally beautiful, that made it possible for Artistic Director Robert L. Larsen’s festival to stage the piece for the first time in the company’s 26 seasons.”  (Des Moines Register)

in the title role of VANESSA:

“Caroline Whisnant has a glorious, all-knowing instrument that can deliver rage when betrayed or perversion when tempted. The high point of this performance was at Vanessa’s realization that Erika was still alive, the single word ‘Yes!’ repeated unaccompanied in Whisnant’s thrilling upper-middle range.”  (Opera News)

“Soprano Caroline Whisnant’s voice and persona were ideal for the role of Vanessa, just as [Des Moines Metro Opera’s Artistic Director Robert] Larsen had described her. Throughout the performance, she has tremendous control over her powerful and extremely beautiful voice, varying it to every emotional circumstance in the twisty plot.”  (Omaha World-Herald)

"In the role of Vanessa, soprano Caroline Whisnant met the technical challenges of this music with great aplomb. Her voice is ravishingly glorious in all its registers, and she gives a dramatic and musical performance that is nearly flawless. Such a performance would be negligent to miss."  (Des Moines Register)

“In the title role, Caroline Whisnant met the vocal and physical challenges of her role with smooth legato singing and expert stagecraft.”  (Opera Japonica)

as Leonora in IL TROVATORE:

“Caroline Whisnant impresses the audience with the poignancy and betrayal of her characterization and fills the house with the splendor of her brilliant voice.”  (Des Moines Register)

as Desdemona in OTELLO:

"Caroline Whisnant was in compelling, silvery voice as Desdemona, bringing lots of subtle shadings to the love duet.”  (Baltimore Sun)

as Senta in DER FLIEGENDE HOLLÄNDER:

“...displayed vibrant, focused tone throughout her range; neither the ballad’s register jumps nor the high Bs in the love duet and finale posed the least threat to her vocal security.”  (Opera News)

“...acted the role very convincingly and has a voice capable of fine-lined purity on the one hand, and a soaring heroic quality on the other. Wagner’s score requires both extremes of this role and Whisnant met the challenges exceptionally well...”  (Buffalo News)

as Santuzza in CAVALLERIA RUSTICANA:

“...with a voice capable of a scorching blaze...”  (Kansas City Star)

as Maddalena de Coigny in ANDREA CHÉNIER:

“...she sang arrestingly —with big, brilliant tone where needed, elsewhere with a ravishing, quiet creaminess.”  (Kansas City Star)

as Madame Lidoine in LES DIALOGUES DES CARMÉLITES:

“her polished tone conveyed the dignity of Madame Lidoine, as well as her steadfast faith in times of crisis.”  (The Tulsa World)

as Mimi in LA BOHÈME:

“...played her with appealing innocence. She sang ‘Mi chiamano Mimi’ in sad, fluty tones, brightening at a reference to the springtime sun. Her third and fourth act arias were full of tenderness.”  (The Commercial Appeal, Memphis, Tennessee)

as Donna Elvira in DON GIOVANNI:

“Whisnant blends passion with rage, achieving power without sacrificing tone.”  (Des Moines Sunday Register)

as Rosalinda in DIE FLEDERMAUS:

“...chance to appreciate the creamy Rosalinda of soprano Caroline Whisnant.”  (Courier-Journal, Louisville, Kentucky)

opera | concert

Wagner Gala Concert

“Whisnant opened the program as the triumphant Brunhilde at the opening of "Die Walkure" and closed it as the sadder but wiser Brunhilde immolates herself as "Gotterdammerung" winds down. She is a truly larger-than-life figure, as Brunhilde must be, with a voice to match and a dramatic presence that commands attention. Her low range has a contralto-like richness and the top of her voice is both powerful and smooth.”  (The Washington Post)

Verdi OPERA GALA:

“the evening’s standout...a commanding, dramatic voice with a bright, penetrating edge. Whisnant demanded the audience’s attention, not only in the powerful exhortations of ‘Vieni! T’affretta,’ from MACBETH, but in the cool sotto voce passages of ‘Più tranquilla,’ from LA FORZA DEL DESTINO.”  (Birmingham News)

OPERA GALA for the Italian Olympic athletes

“The Italian athletes didn’t shy away from showing their preferences from the program. With cries of ‘Brava!’ they clapped loud and long, arms raised in the air after Ms. Whisnant sang the ‘Vissi d’arte’ from Puccini’s TOSCA.”  (Winston-Salem Journal)

OPERA GALA:

“Is there anything Whisnant can’t do? Certainly she demonstrated that Mozart, Verdi, Puccini, and his contemporaries are within her grasp. In a few years, I wouldn’t be surprised to read that she had been cast in the title role of Bellini’s NORMA.”  (Indianapolis News)

concert performance in the title role of FIDELIO

“Soprano Caroline Whisnant, in the title role, projected a big, polished voice, at once warm and bright...bloomed beautifully...with gleaming solidly placed high notes and a radiant middle.”  (San Antonio Express-News)

concert performance as Sieglinde in DIE WALKÜRE / Act I:

“Her voice and manner combine Wagnerian heft and maturity with suggestions of vulnerability and adolescent passion, an ideal combination in a Sieglinde, whose human qualities distinguish her from Brünnhilde, the warrior goddess who becomes the romantic heroine for the rest of the ‘RING.’” (Richmond Times-Dispatch)

concert performance as Cleopatra in
ANTONY AND CLEOPATRA excerpts

“Whisnant’s powerful, exquisite voice is well equipped to convey Cleopatra’s seductiveness, even in her despair and death.”  (Spokesman Review, Spokane, Washington)

Elektra & Brünnhilde photographs by Jacqueline Krause-Burberg. © 2006.