Press


Toni Marie Palmertree made the role of Nedda, Canio's wife, her own in I Pagliacci, with her brilliant singing and the extraordinary range of emotions shown in combination with her secret lover, Silvio, convincingly played by baritone Kieran Rayner.


Peter Williams Hawkes Bay Today February 18 2020

https://www.nzherald.co.nz/hawkes-bay-today/



She impressed the Lyric audience with her tender, yet strong and flexible voice and her wide vocal range. Palmertree's artistic approach to this challenging role, thoughtful and professional presentation of her vocal part, and the natural beauty of her voice touched everyone's heart. She demonstrated excellent breathing technique, beautiful high notes and touching timbre of her voice singing demanding arias such as "Lo vidi e il primo palpito," "Tu puniscimi o Signore," "La tomba e un letto sparso di fiori," and "Ah! l'ultima preghiera." She was also absolutely stunning while singing as part of duets and ensembles.


Natalia Dagenhart Chicago Daily Herald October 23, 2019

https://www.dailyherald.com/submitted/20191022/love-jealousy-and-revenge-in-lyric-operas-luisa-miller


Palmertree sang with stunning clarity, her voice practically shimmering in its upper range, yet with formidable power even below middle C. Her range of emotional delivery was equally broad, capable of playing both the lion and the lamb.

In fact, Palmertree had the lion’s share of the solo vocals in the “Libera me,” and roar she certainly could, as those terrifying thunderclaps and full chorus of the “Dies Irae” returned. It takes one mighty voice to compete with all that glorious sound, and she was certainly up to the task.


Steve Siegal The Morning Call April 18 2019

https://www.mcall.com/entertainment/arts-theater/mc-ent-classical-requiem-20190415-vgs7b7wg2na5joqybqevrwrbfy-story.html


Cio-Cio-San is played by Toni Marie Palmertree, whose clear soprano lifts, soars and dances on Puccini's gorgeous melodies. She is entrancing even before she's on stage, first heard singing from the wings the melody that becomes her motif as she approaches with her entourage to meet Pinkerton. To her falls the most well-known aria of the opera, "Un bel di Vedremo," sung early in Act. II. Even without the English surtitles, the audience would grasp the

range of emotion Palmertree expresses as she first imagines her joy "one fine day" at the return of Pinkerton, then her hysterics as she considers her life of poverty and shame if he does not come back.    


Linda Loomis of the Syracuse Post-Standard 

ttps://www.syracuse.com/entertainment/index.ssf/2018/04/syracuse_opera_8.html


’There is her sound itself — a bright, lustrous instrument capable of gathering great reserves of expressive momentum and then discharging them with a well-placed climactic flourish. Added to that are a wide emotional range, a gift for communicative intimacy, and a dash of theatrical temperament that can give her singing a certain dramatic flair.

In the “Canciones clásicas españolas” of Fernando Obradors, which concluded the evening in a burst of expansive high spirits. In the brisk, saucy numbers of the set (“El molondrón,” “El tumba y lé”), Palmertree brought out her most vivacious side, tripping gaily through the texts like a Spanish Gilbert and Sullivan patter singer. Yet the most exquisite number was the slow love ballad “La mi sola, Laureola,” in which Palmertree gave a musical impression of a lover struck nearly dumb by the beauty of his beloved.


Joshua Kosman of The San Francisco Chronicle

https://www.sfchronicle.com/music/