Sara Duchovnay, soprano

Official website of soprano Sara Duchovnay

Die ägyptische Helena / Odyssey Opera / April 2019

“Sara Duchovnay and Erica Brookhyser lent richness and clarity as Aithra’s servants;”
— Matthew Guerrieri, Boston Globe
Smaller roles offered two standouts—Won Whi Choi in the role of Da-ud, and Sara Duchovnay as the First Servant...Duchovnay a buttery, supple sound, offering an inviting counterpoint...”

Howards End, America / Earplay Ensemble / February 2019

...Sara Duchovnay sounded crisp and alluring as...Helen; Duchovnay delivered not one but two stretches of wordless melody with bright, piercing beauty.
— Joshua Kosman, San Francisco Chronicle
Soprano Sara Duchovnay’s rich portrait of Helen Schlegel, the bohemian and madcap photographer, resonated throughout the opera. Dynamic and expressive, Duchovnay sang with warmth and luster, catalyzing the racial and social dilemmas with energy. As a photographer, she moved with “elan,” thus matching her vocal vibrancy
— Lois Silverstein,
Sara Duchovnay...[is] excellent in the premiere of the chamber opera “Howards End, America.”...Helen Schlegel, portrayed by the clarion-voiced soprano Sara Duchovnay.
— James Ambroff-Tahan, San Francisco Examiner
...Sara Duchovnay sparkled as her flighty sister Helen.
— Ilana Walder-Biesanz, San Francisco Classical Voice
...soprano Sara Duchovnay as the willful and reckless Helen, gave strong performances.
— Elsa Tranter,
The most striking moment, both musically and dramatically, was the birth aria, where Duchovnay delivered high arcs of wordless song and open-throated lows, cresting over her contractions as woodwinds arched along with her. The troughs were layered and translucent, low bowing in the strings like waves of sea-foam as the pain receded. It was riveting and unique and moving, and, surprisingly, there is nothing like that scene in all of opera.
— Adam Broner,
Shearer produces stirring arias for Helen (beacon-voiced soprano Sara Duchovnay)
— Paul Hertelendy,

Gianni Schicchi / Opera Delaware / May 2018

Puccini crafted one true showstopper here, the ubiquitous though ever lovely “O mio babbino caro.” It was a huge hit in Puccini’s day and continues – in film and TV commercials – to be one still. Duchovnay tempered any saccharine tendencies with a minxlike manipulation of her father, to whom she plaintively sings.
— Broad Street Review

Gianni Schicchi / Baltimore Concert Opera / April 2018

Soprano Sara Duchovnay as Lauretta delivered an enjoyable “O mio babbino caro” and possesses a voice of distinctive coloration....Ms. Duchovnay sang it with a coquettish flair.


Barbiere di siviglia (Paisiello) / west edge opera / February 2016

The score’s most involved and rewarding vocal assignment goes to Rosina, and happily, soprano Sara Duchovnay was the standout in the cast as well. In a series of elegant showpieces, including a broadly lyrical aria to end Act 1 and a sumptuous number for her phony music lesson in Act 2, Duchovnay brought tonal purity and shapely phrasing to the role.
— Joshua Kosman, San Francisco Chronicle

gift of the magi / hidden valley opera / december 2015

The performance was carried beautifully by Sara Duchovnay’s Della and Ryan Bradford’s Jim – the two singers once again paired together less than two months after appearing as Zerlina and Masetto in Opera Santa Barbara’s Don Giovanni. Duchovnay’s light, honeyed soprano and Bradford’s warm, sumptuous baritone suited the music magnificently, and they were thoroughly believable, adorable and tender as the doting young couple...
A particular delight was the play between “Jim” and “Della.” As newlyweds, they were more than appropriately flirty and loving. Duchovnay and Bradford...delivered believable chemistry from the highest of highs in expressing their love to the struggle over the giving of just the right “gift.” Their acting more than matched their vocal talent without looking “directed.”
— MaryClare Martin, Peninsula Reviews

Don Giovanni / Opera Santa Barbara / November 2015

Ryan Bradford and Sara Duchovnay excelled at developing the ups and downs of this tension-ridden match
— Charles Donelan, Santa Barbara Independant

ARIADNE Auf naxos / festival opera / June 2015

The nymphs, in the guise of Sara Duchovnay, Betany Coffland and Molly Wilson, made celestial sounds.
— Allan Ulrich, San Francisco Chronicle
...certainly there were standouts....The trio of Sara Duchovnay (Naiad), Betany Coffland (Dryad), and Molly Wilson (Echo) was delightful. They blended their voices beautifully and moved gracefully.
— Charlise Tiee, San Francisco Classical Voice
Soprano Sara Duchovnay was a vibrant Naiad.
— James Roy MacBean, Berkeley Daily Planet

Ariadne auf naxos / Pacific opera project / may 2015

...led by burlesque charmer Zerbinetta (a radiantly voiced Sara Duchovnay)...
— Falling James, LA Weekly
Sara Duchovnay’s Zerbinetta (and her legs) were a standout in every way—an impeccable vocal performance was delivered while romping, mugging, and seducing everyone on stage (and some of the audience).
— Pasadena Independant
Duchovnay not only makes the saucy Zerbinetta irresistible, she leads her chorus of clowns and water nymphs through dizzying bel canto labyrinths, turning one of opera’s most demanding roles into a seemingly effortless delight.
— Mark Hein,
As usual, Zerbinetta is an audience favorite, and Duchovnay earns their affection. Flirty and fun-loving Duchovany’s Zerbinetta is also the smartest person in every room. Zerbinetta’s extended aria in the second act is one of the most treacherous in the coloratura repertoire. Duchovnay’s silvery tone and dexterity make the vocal fireworks seem easy—trickier than usual as the staging incorporates the three Nymphs and audience volunteers.
— Michael Van Duzer,
Duchovnay is a charismatic stage creature....she was a fascinating Zerbinetta. When she was onstage all eyes were upon her.
— Maria Nockin,
Sara Duchovnay’s Zerbinetta was the right shade of cheeky; her voice suffused the score with an airy flirtation.
— RD Foster,

Middlemarch in spring / composers inc. / March 2015

The six-member cast, which included not a single weak link, gave Shearer’s music the vividness it deserved. Soprano Sara Duchovnay sang with precision and expressive grace as Dorothea.
— Joshua Kosman, San Francisco Chronicle
The singers were wonderful as well. With soprano Sara Duchovnay presenting a pure voiced Dorothea.
— Jaime Robles,
The cast is first rate: as Dorothea, SFCM graduate Sara Duchovnay carries the opera on her shoulders. She’s off stage for only a few scenes, and is the center of attention most of the time, with the most dramatic arias.
— Cedric Westphal,
Soprano Sara Duchovnay exposed the complex character of the winningly idealistic heroine, Dorothea: “Oh Beauty, truth…show me the way!” she implored, creating intimacy even in the extremes of her range – and there was one moment when she realized that her husband was dead and spilled from high cries down to devastatingly low wails.
— Adam Broner,

Hydrogen Jukebox / West Edge Opera / July 2014

...transfixing, especially as delivered by a superb cast...soprano Sara Duchovnay, mezzo-soprano Nicole Takesono and tenor Jonathan Blalock made sweet-toned, vigorous contributions both individually and to the choral sections
— Joshua Kosman, San Francisco Chronicle
Duchovnay, who was impressive throughout, here topped the ensemble like a macabre Maraschino.
— Jessica Balik, San Francisco Classical Voice
...the resonances of Sara Duchovnay (Soprano I) were pleasing.
— The Opera Tattler
Soprano Sara Duchovnay displayed solid high notes and a strong, bright-edged sound.
— Not For Fun Only Blog

Falstaff / Opera San José / September 2013

Duchovnay was not the most innocent of Nannettas, but the agility with which she negotiated her beautiful upper range was a distinct asset.
— Jason Victor Serinus, Opera News

Le nozze di Figaro / Pacific Opera Project / April 2013

Three gorgeous sopranos drive the show...First is our heroine Susanna, played by Sara Duchovnay. She is fun to watch as she prances and teases and pouts and angers, all without missing a note.
— Georja Umano, Splash Magazine Los Angeles

La bohème / Hidden Valley Opera / September 2012

Sara Duchovnay as the feisty flirt Musetta turned in a magnificent performance, especially in the flashy café scene, which features the show-stopping aria “Musetta’s Waltz”.
— Barbara Rose Shuler, Monterey Herald

Sara Duchovnay was a shining Musetta, with elegant beauty and a light, honeyed soprano that contrasted perfectly with Ms. Davis’s girl-next-door charms and richer tone, and who made the character sassy, sensual and spunky, yet always human, never a caricature. This Musetta was unquestionably in love with Marcello and distraught by their breakup even as she pretended to laugh in his face.
— Pamina’s Opera House

Musetta was played by Sara Duchovnay, and she stole the show during the “Musetta’s Waltz” scene by her musical pyrotechnics as well as her inspired acting abilities.
— Jeff DeMarco, Peninsula Reviews

Sara Duchovnay spectacularly knocks socks off, in more ways than one, as “Musetta.”
— Katie Shain, Cedar Street Times

Among the fine cast members are sopranos Rebecca Davis and Sara Duchovnay, plus a startlingly gifted, award-winning tenor discovery, Ben Gulley.
— Scott MacClelland, San Francisco Classical Voice

Bach Magnificat and Vivaldi Gloria / San Francisco Bach Choir / March 2012

Most impressive, however, was the duo and particularly trio work. Paulino, Duchovnay, and Couden were thoroughly captivating in their account of “Suscepit Israel” in BWV 243, while Paulino and Duchovnay endowed Vivaldi’s “Laudamus te” with just the right level of “enthusiasm of the faithful”.
— Stephen Smoliar, Examiner

© Sara Duchovnay 2018