Narciso and Giunone in Agrippina

The vocal standouts [included] the rich-voiced mezzo Avery Amereau (Narciso), a voice in a million.
Avery Amereau’s strikingly dark, plush mezzo made a solid impression in two roles, Narciso and Giunone
I hadn’t noticed Juno was to be replaced in a staged version a week later by Avery Amereau, who also sang the trouser role of Narciso. it came as a pleasant surprise to hear Ms. Amereau’s distinctive voice, with its lovely contralto richness, as Juno: a gift, in fact.

Eduige in Rodelinda

The young contralto Avery Amereau was Eduige; Bellorini transformed her into a femme fatale, which she portrayed with ease and spontaneity. Her voice is unusual and remarkable, with a true contralto quality. She is at ease in the low register, with good projection, and she has good high notes and agile coloratura. It will be interesting to see how her voice develops in the future.
— (2018)

Opera de Lyon

Ildebrando D’Arcangelo

Avery Amereau has a beautiful and natural scenic and vocal presence, meticulous diction and a warm tone, with the bass being particularly attractive.
— (2018)
Avery Amereau’s Eduige is built on the warm roundness of her voice.
— (2018)
Eine mit viel Stimmerotik auf wartende Mezzo Entdeckung ist die junge Avery Amereau als Eduige.
— (2018)
The other female voice is embodied by Avery Amereau, a sublime incarnation of Eduige, who leads a fierce fight against this elegant heroine [Rodelinda]. Strong
bearing, projection and a conquering gaze characterizes the bravery of this mezzo soprano, a fabulous lady in black who masters the choreographed struggle and the fan games, all with a savory low sound, and particularly expressive singing.
— (2018)
The character of Eduige, the sister-in-law of Rodelinda, was interpreted by Avery Amereau with an assured voice and stunning drama. Her voice, with noble tone,
somewhat dark, with well-regulated volume perfectly characterized the obsessions of her character, centered around her love for Grimoaldo.
— (2018)
Avery Amereau offre un chant à la fois héroïque et élégant, et parvient même à rendre sympathique l’ambiguë Eduige
— (2018)
L’Eduige de Avery Amereau, la seconda dama, est une aussi belle composition, qui d’abord proche de la virago et du crêpage de chignon avec Rodelinda, bascule vite
dans une attitude plus compréhensive vis-à-vis d’elle, voire se range dans le camp des bons. Le timbre de mezzo soprano est clair et projette bien.
— (2018)
Elle trouve en Avery Amereau une Eduige à la hauteur de sa superbe et leur duel en blanc et noir, à coups d’éventails a de quoi faire virevolter les têtes et les oreilles. La projection est superbe et la ligne de chant d’un naturel et d’une expressivité déconcertants.
— (2018)
Avery Amereau is a formidable Eduige, with a powerful and deep low register that gives her good presence and authority in her confrontations with Rodelinda.
— (2018)
Sur le plan dramatique comme sur le plan vocal, elle trouve en Avery Amereau, élégante Eduige, une digne adversaire qui bientôt deviendra son alliée. Chorégraphié comme une lutte, l’affrontement entre la dame blanche et la dame noire – entre celle que Grimoaldo veut épouser et celle qui veut épouser Grimoald – donne lieu à des prises et à des passes, avec robes tournoyantes et jeux d’éventails, tandis que la mezzo-soprano Avery Amereau, aux graves affirmés et très sonores, laisse éclater une fureur particulièrement expressive (air « De’ miei scherni »).
— (2018)
Enfin, le rôle de la rivale Edvige échoit à la superbe Avery Amereau, voix élégante et solidement charpentée, fabuleuse actrice à l’élocution admirable (son duel tournoyant de jeux d’éventails avec Rodelinda, l’une habillée en robe blanche, l’autre en robe noire, constitue l’un des grands moments dramatiques de la production).
— (2018)
Eduige, soeur de Bertarido complice de Grimoaldo finalement repentante, est idéalement tenue par la mezzo-soprano Avery Amereau à la voix ample et brûlante.
— (2018)

Recital of Handel Arias

Avery Amereau walked into their midst to perform arias from three Handel operas, and the spirit changed. The writing employed more transparent string textures to begin with, to be sure, but the instrumentalists seemed generally invigorated by her presence and her extroverted virtuosity. She attacked “Dopo notte, atra e funesta,” from Ariodante, with downright ferocity (the text partly describes a ship tossed in a tempest). It was an excellent display piece for her distinctive voice, which is deeply pitched and orotund of character, yet capable of finely calibrated coloratura. No less impressive were arias from Giulio Cesare (“Aure, deh, per pietà”) and Rinaldo (“Venti, turbini”). The latter, which included well-played concertante contributions from violinist Redfield and bassoonist Danny Bond, is an early piece from the Handel catalog, and it adheres to a relatively simpler style than the others. Amereau brought it alive with cleanly articulated roulades and fully formed trills. She took a free approach to ornamentation throughout the set. At a few points her phrases threatened to bound off to destinations unknown, but the instrumentalists remained true to their beat and everyone landed at cadences safely and in one piece.

For the Christmas component, Amereau returned as the soloist in an unusually imaginative selection of five early carols. The oldest, “Angelus ad virginem,” took the Baroque Ensemble into deeper antiquity than normal; it dates at least to the 13th century and is mentioned in The Canterbury Tales. Its medieval harmonies and rhythms sounded particularly apt in the Loretto Chapel’s neo-Gothic surroundings. The most striking interpretation of the set, however, was of “The Darkest Midnight,” an 18th-century Irish song. Amereau’s timbre injected moody mystery, and the instrumentalists joined in a serene arrangement that intensified the Celtic flavor.


Avery Amereau, with stunning contralto richness and depth, was superb in the alto arias.
Mezzo-soprano Avery Amereau brought an unusual degree of brooding intensity to her solos, a hint of simmering defiance underpinning the arias “But who may abide” and “He was despised.” Both were delivered with a formidable poise and satisfying tonal plenitude.

Mary Cleophas in La Resurrezione


Alice Tully Hall, Lincoln Center

Richard Termine

Avery Amereau, a mezzo-soprano, sang with excellent body and clarity as Mary Cleophas.
Avery Amereau’s distinctive mezzo in “Piangete, si Piangete” expressed her lamentation in words and song that could have come from a Bach Passion.