​Rosa Betancourt

EMPEROR NORTON - Chelsea Opera

 

"Betancourt’s lovely voice, her acting talents and her completely credible identity as both Diana the person and Diana the actress playing many parts"

     - TheaterScene.Net, 2014

 

"We particularly enjoyed Ms. Betancourt's impersonation of the dancer Lola Montez, which had the audience laughing out loud, and her impersonation of a Chinese woman who sang a stunning melismatic aria."

     - vocedimeche.blogspot.com, 2014

 

LA BOHÈME - Fort Woth Opera

 

"His (Wes Mason) Musetta, Rosa Betancourt, had a lovely legato and gave a snappy, brassy delivery of her show-stopping waltz."

     - Williard Spiegelman: Opera News, 2013

 

"Rosa Betancourt has just the right bit of brassiness for Musetta, but also the believably warm heart that surfaces at the end."

     - Scott Cantrell: Dallas News, 2013

 

"Fort Worth Opera Young Artist alumna, Rosa Betancourt,  held the audience in her hand as a vivacious Musetta in her performance of the Quando m’en vo waltz."

     - everydayOpera, 2013

 

"Rosa Betancourt, a former FWO Young Artist, is a perky Musetta. This is not a subtle role and Betancourt plays it for all its brassy worth."

     - Theater Jones, 2013

 

"Rosa Betancourt as a sparkling but not overdone Musetta."

     - Star Telegram, 2013

 

"The cast, featuring Sean Panikkar as Rodolfo, Wes Mason as Marcello, Mary Dunleavy as Mimi, and Rosa Betancourt as Musetta, was equally commendable."

     - FrontRow-D Magazine, 2013

 

HYDROGEN JUKEBOX - Fort Worth Opera

 

"And thankfully, he (Dan Kempson) was not the exception, for as soon as he dropped the lead, soprano Rosa Betancourt took over and simply bowled the audience over with her sound. Ms. Betancourt just might have been the best soprano in the entire festival."

     - Fort Worth Examiner, 2011 (www.examiner.com)

 

"The six performers in the opera were a delight to watch. There is an organic sense about them; each feeds of the emotion off the others and strengthens the performance. The acting ability of each is top-notch. This aspect cannot be emphasized enough: in a black box setting there is nowhere to hide, and these six performers take up the mantle with great success. On top of all this, each had their own moments where they shined individually."

"Soprano Rosa Betancourt has a beautiful dark, velvet-like tone that reinforces the somber tone of the work."

     - Theater Jones, 2011

 

"What’s more, the young cast is strong, notably soprano Rosa Betancourt and baritone Dan Kempson, who basically plays the lead. "

     - artandseek.net, 2011

 

"Six singers (baritone Dan Kempson, sopranos Rosa Betancourt and Corrie Donovan, mezzo-soprano Amanda Robie, tenor Jonathan Blalock, and bass Justin Hopkins) moved across this bleak field of dreams in costumes ranging from combat fatigues to near-nudity, all the while singing beautifully and often powerfully."

     - FrontRow-D Magazine, 2011

 

MARINA - Opera al Fresco

 

"Rosa Betancourt's Marina proved the amplitude of her pretty voice that has the high notes the role demands..."

     - El Nuevo Dia, 2010

 

LE NOZZE DI FIGARO - Chelsea Opera

 

"Consider the performance of Rosa Betancourt on Thursday evening (06/10/2010) performance of Le nozze di Figaro. Here is a young singer who brings not merely the vocal and physical nuances of Susanna to the stage, but embodies that character's very essence. With a voice, without missing a beat, could turn loving, angry, scheming or coquettish, Ms. Betancourt's singing marked her as a force to be reckoned with in the future of opera, while her acting abilities were such that owned the role from the moment she appeared on stage, silently admiring herself in her bridal finery as Figaro sang out the measurements of the wedding bed."

    - Lou Santacroce

Critic at large and former producer/host of NPR's "At the opera"., 2010

 

CLARISSA SEQUENCE (Holloway) - New World Symphony

 

"Puerto Rican soprano Rosa Betancourt sang the role with a penetrating but never harsh voice, negotiating Holloway's sudden tonal leaps with agility over tense dissonances in the strings."

     - The Miami Herald, 2010

 

SHIR HASHIRIM (Anderson) - Tanglewood Music Center

 

"... sung powerfully by Rosa Betancourt..."

      - The New York Times, 2009

 

"Rosa Betancourt sang luminously..."

     - The Berkshire Eagle, 2009

 

L'ELISIR D'AMORE - Teatro de la Opera

 

"Rosa Betancourt as Adina is pert, charming and excellent in her many coloratura arias and duos. This 27-year-old Puerto Rican soprano is poised on the edge of an important career... Betancourt's rendition of the aria "Della crudele Isotta" was engaging and lyrical, with a bright coloratura, and even more sparkling in "Prendi, per me sei libero," where her vocal gymnastics reach their zenith."

     - The San Juan Star, 2008

 

"The transformation of Adina's character was well represented by Rosa Betancourt, from the joyful naivete of her first intervention, 'Della crudele Isotta', till her playful flirt with Sargent Belcore and her astonishment when she recognizes her love for Nemorino. Betancourt's splendid voice doesn't stop improving each season, with mastery of all vocal extension and excellent nuances modulation, reason to not doubt that this young soprano will keep cultivating to success."

     - El Nuevo Día, 2008

 

"Warming up the voice can take a while..., on the contrary to Rosa Betancourt, since her initial Della crudele Isotta introduced a good control of her instrument, showing her great vocal flexibility."

     - El Vocero, 2008

 

IL BARBIERE DI SIVIGLIA - Compañía Lírica de PR

 

"Soprano Rosa Betacourt's interpretation, in the role of Rosina, stood out for her coquetry and charm. Betancourt possesses an admirable voice and superior musicality, which she demonstrated in the cavatina "Una voce poco fa", captivating the public with her sweetness, and in "contro un cor que accende amore", where she managed the difficult Rossini coloratura with security and fluency. Without a doubt, this young lady has a brilliant career ahead of her"

     - El Nuevo Día, 2007

 

"Rosa Betancourt introduced the beautiful Rosina with the color, the timbre, the extension and the musicality of her voice, which as a lyric soprano also reaches the demands of the coloratura, which are necessary for the interpretation of this role. In addition, Rosa took advantage of the sharpness and impersonations that surround the role of Rosina. Betancourts career has no other way to go but up."

     - El Vocero, 2007

 

DIE FLEDERMAUS - Fundación Puertorriqueña de Zarzuela y Opereta

 

"The bon-bon of the operetta, Adele in hands, voice and body of the young coloratura soprano Rosa Betancourt was one of the highlights of this production, since she knew how to take advantage of what the libretto and music offered."

     - El Vocero, 2006

 

"Adele, was personified with grace by Rosa Betancourt, she received from the public a well deserved reception both in the scenes as well as the famous arias from the piece, justly responding to the tone qualities and neat agility of her voice."

     - El Nuevo Día, 2006

 

LA BOHEME - Opera de Puerto Rico

 

"The one that really shined, displaying an ample voice, well managed and with spinto hints, was Rosa Betancourt, who sang a stupendous and fervent Musetta. From her entrance on the brief second act, she totally dominated the scene with her voice and her histrionic talent."

     - El Nuevo Día, 2005

 

"She (Ramos) was a superb Musetta, as was Rosa Betancourt Thursday. In fact, the 24-year-old soprano was definitely the revelation of the night, and sang her role with precision, energy and beauty."

     - The San Juan Star, 2005