Reviews
The Rakes Progress
The standout in Saturday’s ensemble was soprano Erina Newkirk, as the aptly named ingénue Anne Truelove. Newkirk boasts a resplendent vocal tone, all arching phrases and shimmering sound, and she had the technical prowess to do full justice to the roles bravura writing.
In particular, Newkirk gave a smashing account of Anne’s “No Word From Tom”, the virtuoso two-piece aria that brings down the curtain on Act 1, bringing melting lyricism to the cavatina and forceful bravado to the ensuing cabaletta, climatic high C and all. And she did it while pedaling a bicycle.
Joshua Kosman – San Francisco Chronicle
Tom’s true love Anne was played with engaging directness by Erina Newkirk. Newkirk’s voice is a well-known quantity in the Bay Area, and she also negotiated Stravinsky’s tricky vocal writing with aplomb…”No word from Tom,” she sang it thrillingly, the voice smooth and steady throughout. (It’s rare to find a singer who gets through that aria perfectly without the aid of digital editing.)
Michael Zwiebach, San Francisco Classical Voice
La Bohème
“Soprano Erina Newkirk made an endearing Mimi, combining a rich soprano with a delicate characterization”
Jamie Robles – Repeat Performances
Pagliacci
There is a lot to see in this production, most notably the phenomenal acting skills of Erina Newkirk as Pagliacci’s wife Nedda….But this is clearly Miss Newkirk’s show. New to Cinnabar, Newkirk has won national opera awards including Metropolitan Opera Pacific Region Competition and the Leontyne Price national competition, and has performed with Opera San Jose and Lamplighter’s of San Francisco. Her soprano is unique in that she has amazing vibrato in the high high notes and is equally strong in all ranges, plus she has the vocal dynamics that one usually hears only at the highest levels of opera. Add this to her talent as an actress and you have a rare talent. She acts as she sings, with her whole being – body and soul – and is able to express an emotion with the raising of a single eyebrow or the movement of a finger. How many singers are totally audible and expressive while singing on their backs, as Mr. Mohammed has Miss Newkirk do?
Ron Singer – Theatre and Film Columnist, The Sun
Manon
There is no question that Erina Newkirk was the star of the show. Not only is Manon the title character, but she is on stage most of the opera and has the best musical opportunities – and Ms Newkirk was fully up to the part, both musically and dramatically. Many other critics have praised her voice in words better than I can summon. I’ve no idea how old she is in real life, but on stage in Act I Manon was a vulnerable 15-year old girl, overflowing with joy during a brief moment between a repressed childhood at home and a confined adult in a convent. I doubt if there was a parent in the audience who didn’t yearn to protect her from the real-life sorrows that they knew awaited her.
In Act II she did a perfect job of portraying her emotions as she prepares to face Des Grieux and try to dissuade him from becoming a priest. First, the indecision in her face, then a convulsive swallow, a straightening of the shoulders, and a decisive turn and step towards him.
Philip G. Hodge – Splash Magazines
Manon
As planned, I saw Manon again today and as is frequently the case I enjoyed it even more the second time. I was able to completely ignore the dramatic deficiencies of the plot and enjoy each act for itself. Newkirk and Flowers each have such wonderful voices individually and they merge together perfectly in the many lovely duets. Although they lived in different centuries, Massenet could have been writing music specifically for the two of them to sing. It was a thoroughly enjoyable afternoon.
Philip G. Hodge – Splash Magazines
Pagliacci
‘Pagliacci’ offers vocal power, acting skill
Petaluma’s Cinnabar Theater production boasts top talent; costumes, lighting deserve praise…
Erina Newkirk, as Canio’s unhappy and ultimately unfaithful wife, Nedda, holds the audiences attention every moment. Her expressive face moves convincingly from flirtation to derision to horror, while her soaring soprano makes her listeners feel what her character feels.
Dan Taylor – The Press Democrat
Strange Fruit - Chandler Carter
LONG LEAF OPERA FESTIVAL: OUTSTANDING WORLD PREMIERE:
Nonnie and Tracy, sung by Erina Newkirk and Charles Stanton respectively, made the passion of their relationship and the dilemma of their situation believable. Newkirk’s aria of hope at the end of the first act was beautifully sung and accompanied by some of the warmest, richest harmonic scoring for strings in Carter’s score.
Ken Hoover- Classical Voice of North Carolina
Newkirk was sweet as Nonnie, her voice was pure and lovely.
Kate Dobbs Ariail, Independent Weekly
Erina Newkirk gave Nonnie a shining spirit.
Roy C. Dicks, News & Observer
Die Zauberflöte
Many faces of Erina Newkirk (Pamina)
I’m not sure when I first saw Erina Newkirk. It might have been as Emilia in PO’s production of Handel’s Flavio in 2007. Even in that concert-staged version the flexible expressions on her face made an impression. However, I will never forget her performance in the title role of PO’s Manon in 2011. Let me quote from my review: of that performance:
“There is no question but that Erina Newkirk was the star of the show. Not only is Manon the title character, but she is on stage most of the opera and has the best musical opportunities – and Ms Newkirk was fully up to the part, both musically and dramatically. Many other critics have praised her voice in words better than I can summon. I’ve no idea how old she is in real life, but on stage in Act I Manon was a vulnerable 15-year old girl, overflowing with joy during a brief moment between a repressed childhood at home and a confined adult in a convent. I doubt if there was a parent in the audience who didn’t yearn to protect her from the real-life sorrows that they knew awaited her.
“In Act II she did a perfect job of portraying her emotions as she prepares to face Des Grieux and try to dissuade him from becoming a priest. First, the indecision in her face, then a convulsive swallow, a straightening of the shoulders, and a decisive turn and step towards him.”
That was then. This is now. I was expecting a great performance, and the reality exceeded the expectation. I can’t see enough of this young star.
Philip G. Hodge – Splash Magazines
White Darkness - Tom Dean & Lori Zook
An intriguing opera ‘mash-up’ of Prokofiev and 1978 tragedies
And the cast, led by Erina Newkirk as Renata, brought plenty of vividness to the proceedings. Newkirk’s bright, soaring vocal tone and poignant stage presence made Renata into a figure of true sympathy, rather than a lovely nutball.
Joshua Kosman – San Francisco Chronicle
Troubled Beauty tries voodoo, Johnstown
Renata(was played by) heartbreaking soprano, Erina Newkirk.–Sam Hurwitt, East Bay Express.
Musetta
Waltz Wonder: Erina Newkirk’s Musetta leaves drooling suiters flailing left and right…her comic acting is superb…and she’s good with an Italian curse too.
– Michael J. Vaughn – Metro Arts
The striking Erina Newkirk was perfect as Musetta. The audience fell in love with her crystal-clear soprano voice and her flirtatious, teasing style. She made up admirably for the fact that Musetta’s part is just a diversion in the libretto, with no real pivotal role. – Caroline Sakamoto – Stanford Daily
Soprano Erina Anne Newkirk ( gave a ) sparkling reading of Musetta’s Waltz, which finished off with a creamy-smooth decrescendo on its final note – Michael J. Vaughan – Metro Santa Cruz
In the cast we received, Musetta was sung by company newcomer Erina Newkirk, who gave a sprightly, saucy air to her presentation as the second female lead. – Mort Levine – Milpitas Post
The Telephone - Gian Carlo Menotti
Soprano Erina Newkirk is well cast as a dotty young woman who is more interested in gossiping on the phone than in paying attention to the flailing attempts by her boyfriend. – Charles Brousse – Marin Independent Journal
Les Contes d'Hoffmann
Pocket Opera’s Tales of Hoffmann Review – Worth Seeing Twice
And I have also been in love with Erina Newkirk ever since seeing her last year as a vulnerable 15-year old in Act I of Pocket Opera’s Manon. As the beautiful, talented, and doomed Antonia, she tugged at my heartstrings in a quite different way.
– Philip Hodge – Splash Magazines -Los Angeles
Flavio - Handel
Small Company, Large Voices: Erina Newkirk sang Guido’s fiancée, Emilia, and Boyd Jarrell played her father, Lothario…Newkirk emoted tenderly as his loyal young daughter. Here, Newkirk was not only musically sure but also touching.
Kathryn Miller – San Francisco Classical Voice
Erina Newkirk, a soprano with her own personal style, gave the strongest overall performance. – Kinderkuchen for the FBI
Porgy and Bess
Newkirk opens the opera with a soaring but tender “ Summertime” that sets the standard for the whole evening.
– Leo Stutzen – The Modesto Bee
Cosi Fan Tutte
Fine for the Role: Erina Newkirk played Despina with spirit. Her soprano is pure-toned, but with presence, and her nasal singing as the doctor in the Act One Finale was a comic highlight. – Michael Zwiebach – San Francisco Classical Voice
H.M.S. Pinafore
Erina Newkirk is a lovely, spirited Josephine.
Georgia Rowe – Contra Costa Times
Der Schauspieldirektor - Mozart
Morningstar’s adaptation recasts Mozart’s dueling divas as “Kathleen Battlefield and “Maria Callouses”… Erina Newkirk was the image of Kathleen Battle down to her piercing high pitches, her facial contortions, her arrogant complaints on her cell phone. The two battled beaustifully in thier duet, alternating between gentle intertwining melodies and a shrill cat fight to top one another’s high notes.
– East Bay Express