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"Enfin, Ariadne Greif, qui faisait son début à Carnegie Hall en mai, finissait d'ajouter une touche fantastique à un tableau déjà plus que convaincant. Spectre noir aux yeux relevés de fuchsia, elle flottait sur scène, tantôt sœur, séductrice ou goule alors que ses aigus élastiques et ronds remplissaient le Florence Gould Hall."
"Last, Ariadne Greif, who made her debut at Carnegie Hall in May, added a fantastical touch to an already more than convincing tableau. Black specter with eyes outlined in fuchsia, she floated on stage, now sister, now seductress, now ghoul, while her elastic and round high notes filled Florence Gould Hall."
--Thomas Deneuville, Classique Info. La chute de la Maison Usher with the Opéra Français de New York.
click HERE to download program bios of various lengths...
"...young and attractive..."
--Anthony Tommasini, New York Times. La chute de la Maison Usher with the Opéra Français de New York.
"Soprano Ariadne Greif, who served as the voice of Saint Catherine, displayed an impressive level of engagement, moving effectively between sung and spoken portions of the text while remaining firmly engaged in the drama itself."
--Joel Schwindt, The Boston Musical Intelligencer. Matti Kovler's mini-mono-opera La Testa di Santa Caterina in Jordan Hall.
"Greif, who sang an avant-garde piece by Georges Aperghis winningly, looks to be a boon for new music."
--Mark Swed, Los Angeles Times. Aperghis Récitations pour voix seule at the 2011 Ojai Music Festival.
"...voraciously versatile and monstrously talented..."
"Ryan, as is evident in the vocal writing in this most recent of their collaborations, has become familiar with the elasticity and ample technical capabilities of Ariadne’s voice. He captures the bizarre nature of the text of the Jabberwocky with deft precision, sharp wit, and staggering intricacy largely through the breadth of unusual vocal effects for which he calls throughout the score. These effects include stuttering consonants, long slides, rapid-fire glottal stops, speaking, gurgling, lip and tongue trills, and even a choking sound. Needless to say, these are far beyond typical vocal techniques that are required in standard repertoire, but Ariadne has risen to the challenge that the composer laid out specifically for her. She navigates this complex score not only with ease, but also an unbridled enthusiasm and a taste for the dramatic."
--David Bloom, Contemporaneous Blog. Ryan Chase's Jabberwocky.
"The program also included a Monteverdi setting of Psalm 150, which Ariadne Greif sang energetically if perhaps with slightly more power than the circumstances (a small ensemble and a small hall) required."
"The program also included a Monteverdi setting of Psalm 150, which Ariadne Greif sang energetically if perhaps with slightly more power than the circumstances (a small ensemble and a small hall) required."
--Allan Kozinn, New York Times. Monteverdi's Psalm 150 sung at age 16. Bwahahaha!