“Ilana Davidson's crystalline soprano, scrupulous musicianship and expressive diction—all evoking comparison with Dawn Upshaw in her radiant early years—made the doomed Wife an appealing figure of dignity and pathos.”
—David Shengold, Opera News
The Juniper Tree, Philip Glass/Robert Moran, Alice Tully Hall |
“Ilana Davidson's attractive soprano created an instant sympathy for the first wife"
—Allan Kozinn, The New York Times,
The Juniper Tree, Philip Glass/Robert Moran, Alice Tully Hall |
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“... among the soloists who stood out, Ilana Davidson, a floating lyric soprano”.
—John Rockwell, The New York Times, “Songs of Innocence and of Experience” (Bolcom)/Slatkin |
“Soprano Ilana Davidson’s clear bright voice was pure moonlight ...”
—Lloydd Schwartz, The Boston Phoenix
(Stanley Kubrick's Mountain Home (Elwood)—Jordan Hall, Boston) |
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“Ilana Davidson, as Frederic's love-interest, was another pleasant discovery. Again and again, she produced soprano flourishes of crystalline clarity, the kind you wish never had to end. Her phrasing and articulation were absolutely secure.”
—Zachary Lewis, The Patriot-News Pirates of Penzance, Harrisburg Symphony
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“Davidson is a frighteningly strong singer, but there is subtlety to her voice, too, evident in the delicately shaded lower passages. ”
—Zachary Lewis, Chicago TimeOut, on the new Krenek Lieder CD |
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“… The only constant is singer Ilana Davidson’s wordless trill, which loosely compares to Meredith Monk’s but doesn’t presume as much. Davidson has the clear power to monopolize, but nevertheless admirably chooses to work in concert. ”
—Emerson Dameron “Chimeras” (Zorn) / members Chamber Music Society of Lincoln Center
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“…Ligeti makes the most of this, setting the babbling text to a virtuosic line that makes both Lucia and the Queen of the Night sound calm and centered. Ilana Davidson sang the role with exactly the right flightiness and agility…”
—Allan Kozinn, The New York Times
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“Soprano Ilana Davidson shines in her role as The First Wife”
—Ben Finane, Star-Ledger,
The Juniper Tree, Philip Glass/Robert Moran, Alice Tully Hall |
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“Soprano Ilana Davidson, as the young girl, had a voice of lyric beauty that soared off the stage, and she moved with the grace of a ballerina.”
—David Bolling, Sonoma Index-Tribune, on the opening night of Every Man Jack
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“Among the cast, soprano Ilana Davidson stood out for her lovely, crystalline voice”
—Diane Peterson, Santa Rosa Press Democrat, on the opening night of Every Man Jack
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“the pure, supersonic coloratura of Ilana Davidson…”
—Richard Dyer, The Boston Globe
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“ ... the moment I heard Ilana Davidson’s gleaming soprano ... I knew she had to be a part of our Mahler Journey. This is one of the most distinctive voices I have ever heard – like a nightingale, if nightingales could actually sing! It wafts and it shimmers with light and color in the highest registers. The precious moments for the soprano in Mahler’s Second will be incomparably rendered. ”
—Benjamin Zander, Boston Philharmonic Orchestra<
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“Ilana Davidson surmounted every impossible vocal hurdle with charming ease.”
—Martin Bernheimer, Financial Times<
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“Ilana Davidson offered solid singing and characterization as Flora.”
—Brian Cochran, Opera News
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“A soprano whose voice soars to infinity!”
—Richard Dyer, The Boston Globe
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