REVIEWS

The New York Times
“Two promising singers made their Met debuts in ‘Arabella’ on Monday night: Julia Faulkner, in the title role, and Mary Mills, as Zdenka.  Ms. Faulkner caused a stir when she won the Met’s National Council Auditions in 1985, but she has since pursued her career largely in Europe, working in Vienna and Munich, Germany.
Hers is a remarkably warm and substantial soprano, accurate across the whole range, varied and characterful in tone….her instinctive command of the long Straussian phrase overcame doubts. Among many fine expressive details, her tone of contented surrender in Act II (‘Und du wirst mein Gebieter sein’) stays in the memory.”

Orpheus
“Jumping in….. on 11/9 Julia Faulkner in the title role [of Arabella] after having just recently performed it in Vienna for the first time with sensational success. This critic was for this reason in utter awe and admiration. Here stood a young woman before us with a gorgeous wonderfully dark colored voice that need not fear any competition in this role, who brought the music to Olympic heights…[she] was without a doubt the center of the action onstage. Julia Faulkner is for me the greatest discovery of the last few years.”

Wiener Zeitung
“Julia Faulkner debuted as the Marschalin: she was moving in the intimate moments and can also carry the bigger moments. Her shimmering voice predestines her for this role, as does her believable portrayal of the aging and introspective woman.”

Washington Post
“Faulkner is every inch the Countess– regal in her public confrontations, baffled and confused in privacy when she wonders wistfully about the lost love of her husband. Her singing was exactly right in style, tone and emotional impact.”

Die Presse
“Julia Faulkner was completely the Marschalin. An ideal Strauss singer with a soft edged lightly led but rich and full voice throughout her range. She is also an actress of great skill. Part of a ladies trio that lacks only one thing: fame.  That will soon come.”

Vienna Kurier
“….and one has the time and joy of discovering a real voice: Julia Faulkner….she already shows enormous promise as Arabella, holds her own for the entire evening next to the seasoned Bernd Weikl and does it as though it isn’t her risky role debut– in other words, a real singer.”

Wiener Zeitung
“As the Countess Julia Faulkner was right on the money; the voice ringing and brilliant. She is stylistically correct as well and is a Mozart singer made to order.”

Der neue Merker
“Due to the cancellation of Karita Mattila the Staatsoper once again could enjoy the pleasures of hearing Julia Faulkner in a new role. Although it was in a role that she herself admits is on the light side of her abilities, she offered a wonderful effort. In the first Act she kept her voice from time to time particularly light but most of the time she could allow her womanly, velvet sound to bloom, particularly in the middle range…. The brave and full of fire Csardas was delivered without a hitch and ended with a perfect and effective glissando to a high D.  She surprised me then as in the watch duet with clean coloratura. As Orlovsky said ‘The most beautiful Csardas I’ve ever heard!'”

Opera News
“American soprano Julia Faulkner won an ovation for her portrayal of the title role. Her opulent, warm sound seems rooted in her rich lower-to-middle range but easily moves up to a clear, unforced top; her phrasing is supple and shapely, her music-making intelligent and confident.”

La Stampa
“Julia Faulkner is an energetic Fiordiligi, while at the same time expressing the turbulence of love with warmth and gentleness.”

The New Yorker Magazine
“Julia Faulkner gave lustre to the offstage role of the Falcon.”

The Capital Times
“Julia Faulkner’s warm soprano is at once versatile and comforting…..Faulkner shows regret, fear and enforced happiness in the space of a few phrases.”

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