Press
There is so much more to the vocal repertoire than opera arias, so I was grateful to hear two of our community’s busiest sopranos performing well-loved art songs. Johanna Fincher’s voice continues to ripen, but still has a buoyant quality as she demonstrated in Franz Schubert’s “Der Hirt auf den Felsen” (The Shepherd on the Rock)...
the one-act opera buffa “Signor Deluso” by Thomas Pasatieri... The music itself and the quality of singing was excellent, but honestly, that’s not what stood out. The singers used their obvious acting and stage skill, with the guidance of Locke to draw out every ounce of comedy in the story. The audience laughed out loud repeatedly and showed their appreciation with a hearty ovation.
SATURDAY, MAY 20, 2017 Music Review: New Vocal Arts Makes Welcome Debut
..."The singing is more than a main course. It completes a visual spectacle... The storyline in Rossini's Cinderella, still hinges on the conflict with stepsisters Clorinda and Tisbe, played with clownlike agility by soprano Johanna Fincher and mezzo-soprano Robyn Rocklein..."
SATURDAY, FEBRUARY 11, 2017 Inventive staging of Rossini's 'Cinderella' gets lots of laughs for Opera Tampa
Tampa Bay Times
"Sarasota soprano Johanna Fincher was also impressive in a smaller role as Countess Ceprano. (Fincher will be performing closer to home this spring, in concert with Gloria Musicae in April and the Artist Series Concerts of Sarasota in May.)"
SATURDAY, FEBRUARY 14, 2015 OPERA TAMPA SCORES WITH SEASON-OPENER 'RIGOLETTO'
Review Posted by Marty Clear Bradenton Herald
"...Handel's too-seldom performed "Foundling Hospital Anthem" ...The singers and the instrumental ensemble, under Dr. Joseph Holt's dynamic direction, delivered a stylish performance in which historically correct technique never diluted the emotional impact of the music. Johanna Fincher and Robyn Rocklein, sopranos, were outstanding."
CONCERT REVIEW: IN THANKSGIVING, THE GIFT OF SHARING Reviewed Nov. 23 at the Sarasota Opera House
By Richard Storm , Herald-Tribune / Monday, November 24, 2014
"The centerpiece of the program was Benjamin Britten's "A Ceremony of Carols, Op. 28," which featured instrumentalists Michael Austin, oboe, and Ann Hobson Pilot, harp, with the singers. Solo turns by sopranos Robyn Rocklein and Johanna Fincher remind us of the depth of bench vocal talent in this ensemble. The "Spring Carol" with sopranos Fincher and Rocklein cleared the air with fresh well-placed pitch."
CONCERT REVIEW: Gloria Musicae's 'Feast of Carols' opens the holiday season brightly
by Gayle Williams, Herald-Tribune, December 3, 2013
"Ms. Fincher demonstrated fine vocal technique and showed off her flexibility. She sang with confidence and a natural sense of balance. Her performance exemplified her vocal training and intelligent approach in solving the technical and stylistic problems of the piece."
- Kalin Tchonev, International Director, Varna, Bulgaria
"From the Gloria and the Bach cantatas, Alleluia by Randall Thompson, and the angelic tones of soloist Johanna Fincher in Welcome All Wonders, the audience greeted the new director and singers of Gloria Musicae with genuinely appreciative applause and standing ovations"
- Letter to the Editor, Herald Tribune
"After attending a few of the Charlotte Symphony Orchestra's concerts, I ponied up my $25 to become a member of the Phantoms of the Orchestra, the CSO's volunteer support organization. Being a member of the Phantoms has all kinds of fun benefits such as attending concert rehearsals and sporting your Phantoms signature scarf at the concerts. When I received an e-mail inviting me to the Phantom's inaugural Bach's Lunch featuring a performance by soprano Johanna Fincher, I decided to attend.
When most people picture an opera singer, they envision a large man or woman, often wearing a Viking helmet complete with horns. (OK, some people might think of Luciano Pavarotti in his tux but I prefer my vision!) Either way, soprano Johanna Fincher does not fit this mold. She is a gorgeous young woman. As soon as she opens her mouth to sing, though, you have no doubt that she is the real deal.
Like any smart performer, Johanna started off her performance with a couple of crowd pleasers, "I Could Have Danced All Night" from My Fair Lady and "Think of Me" from Phantom of the Opera. She then segued into some operatic material, including arias from Mozart's Magic Flute and The Marriage of Figaro. Johanna introduced each number, giving the audience a bit of context.
When you listen to her sing, you realize how a voice truly can be a musical instrument. Not only does her voice have an incredible range, you feel the emotion of the role that she's playing, be it the sadness of Antonia or the joy of the mermaid from Haydn's "Mermaid Song" as she sings "Follow me, follow me, to where the rocks of coral grow."
Johanna finished her performance with two wonderful pieces that showed off her range--"Summertime" from Porgy and Bess and Mozart's "Alleluia." This is the third time in the last few months that I've heard renditions of "Summertime." Canadian Brass included the number in its show at the Van Wezel last December and the Gulf Coast Symphony included it in its The Great Gershwin show in January. Johanna's performance was head and shoulders above either of these versions. It was truly wonderful and her voice showed both nuance and power. Her performance of "Alleluia," which was dedicated to outgoing CSO Executive Director Chari Stanley-Leitch, was equally enjoyable and a bit of a teaser for the CSO's performance in November of Mozart's Requiem, in which Johanna will perform.
The luncheon was a real treat. Johanna was terrific and the intimate venue of the Punta Gorda Historical Women's Club made me feel like an honored guest. Plus we were supporting the Charlotte Symphony Orchestra. There's no doubt that the inaugural Bach's Lunch was the start of a great new Phantoms tradition.
Florida Weekly published this post in its edition for the week of May 12th-May 18th!
http://nanettesnewlife.blogspot.com/
the one-act opera buffa “Signor Deluso” by Thomas Pasatieri... The music itself and the quality of singing was excellent, but honestly, that’s not what stood out. The singers used their obvious acting and stage skill, with the guidance of Locke to draw out every ounce of comedy in the story. The audience laughed out loud repeatedly and showed their appreciation with a hearty ovation.
SATURDAY, MAY 20, 2017 Music Review: New Vocal Arts Makes Welcome Debut
..."The singing is more than a main course. It completes a visual spectacle... The storyline in Rossini's Cinderella, still hinges on the conflict with stepsisters Clorinda and Tisbe, played with clownlike agility by soprano Johanna Fincher and mezzo-soprano Robyn Rocklein..."
SATURDAY, FEBRUARY 11, 2017 Inventive staging of Rossini's 'Cinderella' gets lots of laughs for Opera Tampa
Tampa Bay Times
"Sarasota soprano Johanna Fincher was also impressive in a smaller role as Countess Ceprano. (Fincher will be performing closer to home this spring, in concert with Gloria Musicae in April and the Artist Series Concerts of Sarasota in May.)"
SATURDAY, FEBRUARY 14, 2015 OPERA TAMPA SCORES WITH SEASON-OPENER 'RIGOLETTO'
Review Posted by Marty Clear Bradenton Herald
"...Handel's too-seldom performed "Foundling Hospital Anthem" ...The singers and the instrumental ensemble, under Dr. Joseph Holt's dynamic direction, delivered a stylish performance in which historically correct technique never diluted the emotional impact of the music. Johanna Fincher and Robyn Rocklein, sopranos, were outstanding."
CONCERT REVIEW: IN THANKSGIVING, THE GIFT OF SHARING Reviewed Nov. 23 at the Sarasota Opera House
By Richard Storm , Herald-Tribune / Monday, November 24, 2014
"The centerpiece of the program was Benjamin Britten's "A Ceremony of Carols, Op. 28," which featured instrumentalists Michael Austin, oboe, and Ann Hobson Pilot, harp, with the singers. Solo turns by sopranos Robyn Rocklein and Johanna Fincher remind us of the depth of bench vocal talent in this ensemble. The "Spring Carol" with sopranos Fincher and Rocklein cleared the air with fresh well-placed pitch."
CONCERT REVIEW: Gloria Musicae's 'Feast of Carols' opens the holiday season brightly
by Gayle Williams, Herald-Tribune, December 3, 2013
"Ms. Fincher demonstrated fine vocal technique and showed off her flexibility. She sang with confidence and a natural sense of balance. Her performance exemplified her vocal training and intelligent approach in solving the technical and stylistic problems of the piece."
- Kalin Tchonev, International Director, Varna, Bulgaria
"From the Gloria and the Bach cantatas, Alleluia by Randall Thompson, and the angelic tones of soloist Johanna Fincher in Welcome All Wonders, the audience greeted the new director and singers of Gloria Musicae with genuinely appreciative applause and standing ovations"
- Letter to the Editor, Herald Tribune
"After attending a few of the Charlotte Symphony Orchestra's concerts, I ponied up my $25 to become a member of the Phantoms of the Orchestra, the CSO's volunteer support organization. Being a member of the Phantoms has all kinds of fun benefits such as attending concert rehearsals and sporting your Phantoms signature scarf at the concerts. When I received an e-mail inviting me to the Phantom's inaugural Bach's Lunch featuring a performance by soprano Johanna Fincher, I decided to attend.
When most people picture an opera singer, they envision a large man or woman, often wearing a Viking helmet complete with horns. (OK, some people might think of Luciano Pavarotti in his tux but I prefer my vision!) Either way, soprano Johanna Fincher does not fit this mold. She is a gorgeous young woman. As soon as she opens her mouth to sing, though, you have no doubt that she is the real deal.
Like any smart performer, Johanna started off her performance with a couple of crowd pleasers, "I Could Have Danced All Night" from My Fair Lady and "Think of Me" from Phantom of the Opera. She then segued into some operatic material, including arias from Mozart's Magic Flute and The Marriage of Figaro. Johanna introduced each number, giving the audience a bit of context.
When you listen to her sing, you realize how a voice truly can be a musical instrument. Not only does her voice have an incredible range, you feel the emotion of the role that she's playing, be it the sadness of Antonia or the joy of the mermaid from Haydn's "Mermaid Song" as she sings "Follow me, follow me, to where the rocks of coral grow."
Johanna finished her performance with two wonderful pieces that showed off her range--"Summertime" from Porgy and Bess and Mozart's "Alleluia." This is the third time in the last few months that I've heard renditions of "Summertime." Canadian Brass included the number in its show at the Van Wezel last December and the Gulf Coast Symphony included it in its The Great Gershwin show in January. Johanna's performance was head and shoulders above either of these versions. It was truly wonderful and her voice showed both nuance and power. Her performance of "Alleluia," which was dedicated to outgoing CSO Executive Director Chari Stanley-Leitch, was equally enjoyable and a bit of a teaser for the CSO's performance in November of Mozart's Requiem, in which Johanna will perform.
The luncheon was a real treat. Johanna was terrific and the intimate venue of the Punta Gorda Historical Women's Club made me feel like an honored guest. Plus we were supporting the Charlotte Symphony Orchestra. There's no doubt that the inaugural Bach's Lunch was the start of a great new Phantoms tradition.
Florida Weekly published this post in its edition for the week of May 12th-May 18th!
http://nanettesnewlife.blogspot.com/
