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She’s the real deal and has it all. A gloriously pure, powerful soprano voice, always under her control, is matched with no little dramatic ability. Her tones ring out, squarely placed, like a golden bell, with plenty of volume and clarity that are quite thrilling. Her voice is fine in all registers, and her breathing technique allows her to send the highest fortissimo to the softest pianissimo sailing out over her audiences. It also allows her to sing true legato; one phrase melts seamlessly into the next. A part such as Iphigénie suits her talents to a tee, and she sings it brilliantly. We’ve also been lucky in that we’ve had the pleasure of watching this star be born

- OnStage Pittsburgh, Iphigénie en Tauride, 2024

“There’s no point in not saying outright that Emily Richter, as the Princess Ginevra, created an outstanding sensation. In her largest role to date with Pittsburgh Opera, she astonished with the size and purity of her powerful soprano voice. Her tones rang like a large golden bell, with ample volume and a clarity that was quite overwhelming. Her voice is evenly fine in all registers, and sends the highest fortissimo to the softest pianissimo sailing out over the audience.”

- OnStage Pittsburgh, Ariodante, 2023

"There is a radiance and lighter-than-air quality to Emily Richter’s soprano that was ideally suited to Handel’s alluring melodies. Richter’s trills and runs were exquisite, but it was her ability to caress a long, spinning phrase that was truly special. Her singing in ‘Il mio crudel martoro’, Ginevra’s expression of despair after she has been falsely accused of infidelity and told of Ariodante’s death, was as moving as it was lovely." 

- Seen and Heard International, Ariodante, Pittsburgh Opera 

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