press

“Chicago soprano Amy Conn created a delightful, even seductive Galatea, letting her hair down as only a librarian in love can and singing clearly, firmly, and beautifully.”

Andrew Patner, Chicago Sun-Times, July 2009

in DCA’s production of Acis and Galatea

“Soprano Amy Conn sang a fresh, agile, sweetly lyrical Galatea. She was the standout…”

John von Rhein, Chicago Tribune, July 2009

in DCA’s production of Acis and Galatea

“Ms. Conn brought a tremendous amount of dramatic emphasis to her selections, as well as providing a smooth and convincing voice. Her turn as the herald of Christ’s birth could not have been more contrasted to her scena work in Part II. She took the time to make her selections count and it paid off.”

Ozni Torres, Chicago Classical Music, April 2009

in Handel’s Messiah with Chicago’s Baroque Band

“The Acrostic Song from David Del Tredici’s Final Alice remains a fine painting of graceful, flowing nostalgia, nicely evoked by soprano soloist Amy Conn”

Lawrence A. Johnson  Chicago Classical Review June 2011 on Grant Park Chorus’ American A capella program

“…the most successful works of the evening came from Monteverdi… especially the quasi-operatic duet Venite, siccientes, ad aquas Dominiwith soprano Amy Conn and mezzo Nina Heebink blending nicely in this lovely setting.”

Lawrence A. Johnson Chicago Classical Review December 2010 on Music of the Baroque’s Brass and Choral program

“Performers were… Amy Conn, a soprano with bright, sparkling tone, accompanied by pianist Shannon McGinnis”

Wynne Delacoma  Chicago Classical Review March 2010 on Rodrigo songs in U of C’s Beyond Flamenco Festival at Mandel Hall

“Fine local singers Amy Conn and Nina Heebink were equal part Greek and alternative theater choruses.”

Andrew Patner, Chicago SunTimes, January 2010 on Bernard Rand’s “Now again – fragments from Sappho” performed by Eighth Blackbird and Susanne Mentzer

“Amy Conn gave superb advocacy to these challenging songs, singing with intensity and notably clear diction, conveying the delirious exultation, confusion, and bleak introspection with full tone and passionate commitment.”

Lawrence Johnson, Chicago Classical Review, November 2009

on Drew Hemenger’s cycle Which Way Home with the Orion Ensemble

“Amy Conn was a fine Galatea, convincingly bookish, yet letting her hair down, literally, in a nicely sung As when the dove, and rising to the challenge of the final scene with conviction and radiant tone.”

Lawrence A. Johnson, Chicago Classical Review, July 2009

in DCA’s production of Acis and Galatea

“…the Night Sequence from Purcell’s “The Fairy Queen” is rarely heard but was richly rewarding Friday night. MOB assembled a fine team of vocal soloists—sopranos Alyssa Bennett and Amy Conn, countertenor Ryan Belongie and bass-baritone Peter Van De Graaff.”

Wynne Delacoma, Chicago Sun-Times, October 2008

in a program of night music with Music of the Baroque

“The two sopranos, Hargis and Conn, offered a sweet retreat from the battlefield in their ravishing duet, Chiome d’oro.”

John von Rhein, Chicago Tribune, March 2004

in Monteverdi’s Arianna with Music of the Baroque

“…the clear, open sound of soprano Amy Conn…featured effectively.”

Christian C. Rix, St. Louis Post-Dispatch, November 2002

with Chicago a cappella

“Amy Conn’s clear soprano voice and immaculate diction captivated the audience. Ms. Conn showed a confident mastery of repertoire… performed with beauty, grace and eloquence.”

Nicholas Yasillo, Norton Building Concert Series, September 2002

recital of French and English art songs, and German lieder

“The Monteclair cantata, The Triumph of Constancy, in which a spurned lover resolves to remain constant despite everything, was sung with limpid grace by soprano Amy Conn, who was ably assisted by Craig Trompeter, viola da gamba.”

John von Rhein, Chicago Tribune, January 2002

with Ars Antigua

“…Amy Conn’s soprano was a glowing, pure line…”

Wynne Delacoma, Chicago Sun-Times, December 2001

in Hildegard von Bingen’s Hodie aperuit with Music of the Baroque

“Soprano Amy Conn winningly conveyed a variety of nuances into her sections about innocence and love.”

Walter Skiba, Hammond Times, March 2001

in Carmina Burana with the Indiana Symphony

“Amy Conn, in the title role, sings divinely and acts superbly, giving Patience real wit and liveliness.”

Leah A. Zeldes, Lerner News, October 2001

in Gilbert & Sullivan’s Patience with the Savoy-Aires