Mezzo-soprano Julia Mintzer was wonderful as Suzuki.  Her voice was rich and pliable-- from chest-tone power in the lower range to a graceful floating quality in her higher range to a flexible ability to blend with Cambridge in their gorgeous Flower Duet-- and she brought a quiet dignity to her role. 

[Madama Butterfly, Florentine Opera] 

http://urbanmilwaukee.com/, October 2015

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Mezzo-soprano Julia Mintzer was a strong, polished Suzuki, providing both a fine character match for Butterfly's devotion and determination and an equally fine vocal match for Cambridge's vocal strength and musicality.

[Madama Butterfly, Florentine Opera]

http://www.jsonline.com/, October 2015

 

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Mezzo-soprano Julia Mintzer, playing Butterfly’s maid Suzuki… sing[s her role] with great attention to nuance.

 [Madama Butterfly, Florentine Opera]

http://www.wisconsingazette.com/, October 2015

 

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Julia Mintzer (Suzuki) and Mark Walters (Sharpless), by contrast, powerfully embodied their roles, both dramatically and musically.

[Madama Butterfly, Florentine Opera]

http://www.milwaukeemag.com, October 2015

 

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Tenor Stefan Reed and mezzo-soprano Julia Mintzer contributed handsome inner voices.

[Mozart's RequiemGrand Harmonie]

The Boston Musical Intelligencer, November 2015

 

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The work is firmly focued on Orpheus, sung with pathos and resolve by Semper Opera mezzo-soprano Julia Mintzer…Mintzer's singing of this music of dejection was thoughtful and original, paying close attention to the text, projecting dignity in the midst of loss.

[Orfeo, Grand Harmonie]

The Boston Musical Intelligencer, October 2014

 

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Julia Mintzer also acted and sang well in the role of the Lucky Child, her voice shining as the sun, cheerful, courageous…

[Der Teufel mit den Drei Goldenen Haaren, Die Semperoper Dresden]

Neues Deutschland, December 2013

 

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Equally impressive was a fine female trio of Naiad, Dryad, and Echo: Emily Dorn, Julia Mintzer, and Arantza Ezenarro. Their fabulous costumes were matched by assured singing and acting, offering quite the model of an Ariadne performance.

[Ariadne auf Naxos, Die Semperoper Dresden]

http://seenandheard-international.com, April 2014

 

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Julia Mintzer's influence seemed to be Callas, which was particularly apparent in the Quattro Liriche.

[Semperoper Soiree: Poetisches Italien, Die Semperoper Dresden]

Der Neue Merker, January, 2014

 

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Mintzer was especially impressive in a part that called for prodigious breath control and pinpoint accuracy.

[little match girl passion, Glimmerglass Festival]

Opera News, August 2013

 

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Julia Mintzer showed promise as an intense Clotilde, a role that was once taken by the young Joan Sutherland.

[Norma, Washington National Opera]

-Washington Post, March 2013 (Anne Midgette)

 

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Vibrant and exciting mezzo Julia Mintzer portrays Carmen. She sings the great arias in succession with several reprises. She sings them brilliantly. Her acting is a dramatic triumph.  [The Tragedy of Carmen, Dayton Opera]

Oakwood Chronicle, May 2012

 

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There was much pleasure in the chipper Stéphano of Julia Mintzer

[Roméo et Juliette, Dayton Opera]

Opera news, February 2012

 

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The four vocal soloists—soprano Ava Pine, alto Julia Mintzer, tenor Keith Jameson, and baritone Andrew Garland, were all outstanding… Julia Mintzer in particular stood out...

[Handel’s Messiah, Boston Baroque]

-Boston Musical Intelligencer (Steven Ledbetter), December 2011

 

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...Mintzer sang with taste and generosity, and her rendering of He was despised was delivered to a hushed hall. [Handel’s Messiah, Boston Baroque]

-Boston Classical Review, December 2011

 

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The American Julia Mintzer… was a true Carmen: extremely sensual, with the grace of a serpent, the violence of a tiger, and a mezzo of penetrating depth. [La Tragèdie de Carmen, Institut Canadien d’Art Vocal]

-La Presse (Montreal), August 2009