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"The ceremony is opened by the singers, a cappella, under the direction of Thomas Hengelbrock. Agnès Kovacs, soprano, Julie Comparini, alto, the tenors Mirko Ludwig and Victor Schiering and bass Hans Wijers. A magical moment that warms the heart as it brings tears to the eyes: the first of the three madrigals that they perform magnificently, set to music by Heinrich Isaac (1450-1517) to an anonymous text, "Innsbruck, ich muss dich lassen"."
Luc Bondy, la belle cérémonie des adieux, Armelle Heliot, Le Figaro, 10.12.2015

"Julie Comparini is an effective Jacob. Her mezzo doesn't open up as it descends, but neither does it collapse inward as so many similar voices do, and her compact tone actually helps bring off the pants-role conceit, particularly in the character's angry and defiant postures in Part Two.."
Jacob a Labano fugiens (CD), Stephen Francis Vasta, Opera News, 01.06.2015

"The quartet of soloists could not have been better chosen [...] Julie Comparini sang Maria's poignant lullaby for the baby Jesus and the Magnificat with heart-rending intimacy.."
Die Kindheit Jesu, Gerd Klingeberg, Weser-Kurier, 02.01.2013

Photo © Theresa Pewal
Photo © Theresa Pewal

"The arias are full of sensuous flair: "Zion" (Julie Comparini) prepares for her "bridegroom" by putting on her makeup "with tender emotion" in her boudoir [...] The aria "Frohe Hirten" is an artistic masterpiece, too: the flute part that normally accompanies the tenor is sung here with beguiling gestures by Julie Comparini. Back in the larger hall, the atmosphere is homey and Christmas-y; the beatific parents (Julie Comparini and Philippe Rayot) bond with a framed portrait of an icon of the baby Jesus – a fun pantomime paralleling the recitatives and arias describing the Christmas miracle in Bethlehem. In spite of the opulent images, the many tiny jokes, and the artistic license in the musical arrangements [...] Bach's Christmas Oratorio was never so fresh, energetic and a delight for the senses."
Weihnachtsoratorium unwrapped, Dorothee Philipp, Die Oberbadische, 19.12.2014

"Both her warm and sonorous contralto and her training as an actor were used to great effect...."
Il Dio d'Amore, Nordwest-Zeitung, 12.11.2013

"The highly chromatic aria for alto, sung with elegance and expressive warmth by Julie Comparini, condensed the already intimate atmosphere.."
Mein Odem ist schwach, Neue Westfalische, 10.11.2012

"Above all, Julie Comparini was brilliant as Jacob: strong and decisive, her clear articulation of the text and convincing portrayal of conflicting emotions -- fear and rage, love and pain, resolution and resignation -- made the drama tangible."
Jacob a Labano fugiens (concert), Augsburger Allgemeine, 12.09.2011

"Julie Comparini illustrated all the facets of Jacob's rage, desperation and resignation convincingly and with great musical endurance."
Jacob a Labano fugiens (concert), Donaukurier, 12.09.2011

"The superbly casted young singers were the highlight of the performance, particularly Julie Comparini as the pharmacist's dominating wife......"
Doktor und Apotheker, Der Tagesspiegel, 11.04.2009

Photo © Felix Patzelt
Photo © Felix Patzelt

"Julie Comparini sang with a bright, pure mezzo voice which complemented Ellen Delahanty's wonderfully clear soprano... They brought the style of ornamental Baroque singing style across with the use of a few props as accessories and so differentiated Ariel the wind spirit, Prospero the Duke, etc. Julie Comparini's dancing conveyed the atmosphere of Orsino's court." Some Strange Felicity (Liebe und Magie bei Shakespeare), Opernnetz.de, 8.1.2008

"Julie Comparini and the members of "ensemble aisthesis" presented the multifaceted work with musical conviction and precisely differentiated sound colors."
Explanation of Metaphors, Rhein-Neckar-Zeitung, 13.04.04

"... The vocal solo was in perfect hands with the young American contralto Julie Comparini. Her voluminous and flexible voice, reaching into tenoral depths, her intelligent phrasing and her multifaceted nuances of expression left a lasting impression on the audience.."
Cassandra, Göttinger Tagesblatt, 23.10.01