Hailey Clark

CRITICAL ACCLAIM / KRITIKEN

"As Fiordiligi,

Hailey Clark triumphed..."

-OPERA NEWS

"Clark...immediately drew in the crowd with her striking stage presence and her astonishing vocal control. Clark's performance is a masterclass in how to fully inhabit and develop a character — all while dazzling with an ineffably beautiful voice."

-The Denver post

"VOCALLY AND EMOTIONALLY TOUCHING..."
-THE HUFFINGTON POST

AS ANNE TRULOVE IN A NEW PRODUCTION OF THE RAKE'S PROGRESS, THEATER BASEL, SWITZERLAND, 2018
CONDUCTOR: KRISTIINA POSKA, DIRECTOR: LYDIA STEIER

"At the premier I experienced a wonderful Anne Trulove (the name is the meaning [of her character]), with a full-bodied and strong acting performance by Hailey Clark. This part was portrayed by the American, despite the text which is also difficult to understand for English-speaking visitors, with clean diction and intonation that is second to none: no ill-placed vibrato, no unclean tones clouded her interpretation."
"An der Premiere erlebte ich eine wunderbare Anne Trulove (Nomen est Omen), gespielt mit vollem Körpereinsatz und viel schauspielerischer Leistung von Hailey Clark. Dieser Part wurde von der amerikanischen Sopranistin zeichnete sich, trotz des auch für englischsprachige Besucher schwierig verständlichen Textes, durch eine saubere Diktion und einer Intonation, welche ihresgleichen sucht. Kein falsch eingesetztes Vibrato, keine unsaubere Höhen trübten ihr Interpretation."

--PETER HEUBERGER, ONLINE MERKER, 19 MAY 2018, & published in DER OPERNFREUND.DE 22 May, 2018




"One can also view Stravinsky's occasionally somewhat mannered-looking neoclassical music as merely entertaining. It is more. Anne's Cabaletta "Love" is perhaps the most sensitive thing written for the opera stage in the second half of the 20th century. Hailey Clark has the vocal tool for it. Her lyrical soprano is full of suppleness, agile and present in all registers."

"Man kann auch Strawinskys mitunter schon etwas manieriert wirkende neoklassizistische Musik als nur unterhaltend ansehen. Sie ist mehr. Annes Cabaletta "Love" gehört vielleicht zum Empfindsamsten, was für die Opernbühne in der zweiten Hälfte des 20. Jahrhunderts geschrieben worden ist. Hailey Clark hat das stimmliche Werkzeug dafür. Ihr lyrischer Sopran ist von maximaler Geschmeidigkeit, beweglich und in allen Registern präsent."


--ALEXANDER DICK, BADISCHE ZEITUNG, 22 MAY 2018




"Sixty-seven years after Elisabeth Schwarzkopf, who created the role of Anne, Hailey Clark dazzles with her virtuosity but also her emotional reserve.  We really have a tight throat over the long final exchange between lovers who could have aged together."

"Soixante-sept ans après Elisabeth Schwarzkopf, qui créa Anne, Hailey Clark éblouit par sa virtuosité mais aussi par sa réserve émotionnelle. L’on a vraiment la gorge serrée au fil du long échange final entre les amants qui auraient pu vieillir ensemble."


--JEAN-LUC CLAIRET, RESMUSICA, 31 MAY 2018



"...Vocally and emotionally touching was Hailey Clark as Anne Trulove. She brought fresh wind to the stage each time with her unfortunately few appearances."

"Doch stimmlich sowie emotional anrührend war nur Hailey Clark als Anne Trulove. Sie brachte jedes Mal frischen Wind auf die Bühne bei ihren leider wenigen Auftritten."


--DAGMAR WACKER, HUFFINGTON POST DE, 7 JULY, 2019




"As a truly loving Anne, Hailey Clark is by no means merely the Naive, but knows in her nuanced singing many facets of love. The lullaby, which Anne sings at the end of her "Adonis," is one of the touching moments."

 "Hailey Clark ist als wahrhaft liebende Anne keineswegs bloß das Naivchen, sondern kennt in ihrem nuancierten Gesang viele Facetten der Liebe...Auch das Wiegenlied, das Anne am Schluss ihrem „Adonis“ singt, gehört zu den berührenden Momenten."


​--ELISABETH SCHWIND, SÜDKURIER, 22 MAY 2018




"The eight soloists are outstandingly cast...especially outstanding are the four main roles...Hailey Clark as Anne Trulove with an incredibly versatile, lush soprano..."

"Das insgesamt achtköpfige Solistenensemble ist hervorragend besetzt. Heraus ragen die vier Hauptpartien...Hailey Clark als Anne Trulove mit einem überaus wandelbaren, üppigen Sopran..." 


​--ANJA WERNICKE, "BZ" (Basellandschaftlicher Zeitung), 22 MAY, 2018




"Above all, the three main roles...[including] a devoted, loving Anne Trulove (Hailey Clark), were not only convincing, but even brilliantly cast..."

"Vor allem die drei Hauptrollen ...eine hingebend liebende Anne Trulove  (Hailey Clark) – waren nicht nur überzeugend, sondern sogar brillant besetzt..."


--LAURA WEIDACHER, JOURNAL 21, 21 MAY 2018




"The main roles are cast with young American voices, which make the libretto tingle with prosodic taste...Hailey Clark as Anne Trulove expresses her loyalty to Rakewell with increasingly dramatic intensity."

​"Die Hauptrollen sind mit jungen amerikanischen Stimmen bezetz, die das Libretto mit prosodischen gespuer prickeln lassen...Hailey Clark als Anne Trulove bringt ihre Treue zu Rakewell in dramatischen Steigerungen zum Ausdruck.


​--SIMON BORDIER, BASLER ZEITUNG, 22 MAY 2018




"...A truly touching moment: when Anne Truelove weeps over her beloved Tom...there is no irony in mind.  Especially as Anne Hailey Clark is driven raw with emotion and finds to great intimacy in the voice..."

.."ein Moment echter Anrührung: Wenn Anne Truelove über ihrem geliebten Tom weint...gibt es keinen Gedanken an Ironie. Zumal Hailey Clark als Anne alles Aufgekratzte fahren lässt und zu großer Innigkeit in der Stimme findet..."


--EGBERT THOLL, Süddeutsche Zeitung, 28 MAY 2018


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AS LUCIO CINNA IN A NEW PRODUCTION OF LUCIO SILLA, THEATER BASEL, SWITZERLAND, 2017
CONDUCTOR: ERIK NIELSEN, DIRECTOR: HANS NEUENFELS

"Hailey Clark was brilliant in this part, with enchantingly strong and securely sung arias, especially in the D Major "Vieni ov'amor t'invita" with its breakneck coloratura, which she sings athletically and without any cloudiness of intonation. It's comforting to know that she's now part of the Ensemble in Basel and hopefully we'll hear her more often."  "...The F Major revenge aria of Cinna "Nel fortunato istante"...the singer was unbelievably spirited, and sung with beautiful colors..."
"Die Amerikanerin Hailey Clark brilliert in dieser Partiemit hinreissend stark und sicher gesungenen Arien, darunter die D ­DurArie «Vieni ov’amor t’invita», deren halsbrecherische Koloraturen sie mit unerhörtem Sportsgeist und ohne Intonationstrübungen angeht. Tröstlich zu wissen, dass sie jetzt zum Basler Opernensemble gehört und hoffentlich noch öfter zu hören ist." "...die F ­Dur­ Rachearie des Cinna «Nel fortunato istante» vor der Pause, die von der Sängerin unerhört temperamentvoll und farbenreich gesungen..."

--SIGFRIED SCHIBLI, BASLER ZEITUNG, 16 SEPTEMBER 2017



"The two new members of the ensemble also draw attention to themselves...Hailey Clark from the USA makes clear outlines of the shady figure of Cinna with her dramatically sharpened soprano."
"Die beiden neuen Ensemblemitglieder machen ebenfalls auf sich aufmerksam...Hailey Clark aus den USA kann mit ihrem dramatisch geschärften Sopran der zwielichtigen Figur Cinna klare Konturen verleihen."


--GEORG RUDIGER, 
BADISCHER ZEITUNG, 15 SEPTEMBER 2017



"Excellent the vocal performance of the singers, all very young, very fresh talents...we experienced Hailey Clark as Roman patrician Lucio Cinna, since this season ensemble member in Basel...her performance on stage was convincing in every respect."
"Hervorragend die gesangliche Darbietung der Sängerinnen und Sänger, alles sehr junge, sehr frische Talente...Als römischen Patrizier Lucio Cinna durften wir Haley Clark, seit dieser Spielzeit Ensemblemitglied in Basel, erleben...ihre Leistung auf der Bühne überzeugte in jeder Hinsicht."

--PETER HEUBERGER, DER NEUE MERKER, 15 SEPTEMBER 2017



"With comparable elegance, Hailey Clark is striking in the second trouser role of the cleverly tactical Lucio Cinna, only revealed in the end an opponent of Silla."
"Mit vergleichbarer Noblesse schlaegt sich Hailey Clark in der zweiten Hosenrolle des klug taktierenden und sich erst am Ende als Gegner Sillas outenden Senators Cinna." 


--JOACHIM LANGE, 
OPER! DAS MAGAZIN, NOVEMBER 2017


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AS FIORDILIGI IN A NEW PRODUCTION OF COSÌ FAN TUTTE, CENTRAL CITY OPERA, COLORADO, USA, 2017
CONDUCTOR: JOHN BARIL, DIRECTOR: STEPHEN BARLOW

"As Fiordiligi, Hailey Clark triumphed in “Come scoglio” and “Per pietà,” displaying little trouble with the former's leaps and bounds, while acquiring a warm, floating soprano and effortless trills in the latter."


--MARC SHULGOLD, 
OPERA NEWS, JULY 19, 2017



"...Mozart wrote the soprano part of Fiordiligi as the most prominent and virtuosic. He gave her two of his greatest bravura arias. Hailey Clark, making her CCO debut, immediately drew in the crowd with her striking stage presence and her astonishing vocal control. Clark's performance is a masterclass in how to fully inhabit and develop a character — all while dazzling with an ineffably beautiful voice. Both arias drew sustained applause."


--KELLY DEAN HANSEN, 
THE DENVER POST JULY 20, 2017 &  BOULDER DAILY CAMERA, JULY 2017


"Soprano Hailey Clark is a revelation in her part as Fiordiligi, the sister that tries valiantly to fight the temptation of the disguised men. There are moments that Clark’s voice is a whisper that fills the opera house with its power. In the opportunities Clark gets to take over the stage, like in the aria “Per pietà,” the audience is treated to not only a voice worthy of admiration, but also the beauty inherent in the music of Mozart.


--RAMSEY SCOTT, 
AURORA SENTINEL, JULY 27, 2017



"As Fiordiligi, CCO debutante Hailey Clark earned the audience’s affection. She handled the extreme registers and daunting leaps of the soprano-slaying aria “Come scoglio” with aplomb...and was perfectly heart-rending in her later aria, “Per pietà.”


--PETER ALEXANDER, 
BOULDER WEEKLY, JULY 20, 2017


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​​​AS FIORDILIGI IN COSÌ FAN TUTTE, OPER STUTTGART, GERMANY, 2017
CONDUCTOR: SYLVAIN CAMBRELING (4.2, 4.20, ROLAND KLUTTIG 4.12); DIRECTOR: YANIS HOUVARDAS



"In this opera buffa, Hailey Clark triumphs as a high-caliber Fiordiligi...the two glamorous soprano singers Hailey Clark and Diana Haller are particularly outstanding...Hailey Clark as Fiordiligi brings to the passage "Be faithful to me alone" a melodic miracle." 
"Bei dieser Opera buffa triumphieren Hailey Clark als höhensichere Fiordiligi...Da brillieren insbesondere die beiden glanzvollen Sopranistinnen Hailey Clark und Diana Haller...Hailey Clark vollbringt als Fiordiligi bei den Passagen „Sii costante a me sol“ („Sei mir allein treu“) ein melodisches Wunder."


​--ALEXANDER WALTHER, 
DER NEUE MERKER, 13 APRIL, 2017 



"In this production, the collective scenes worked better than in the individual ones, with the exception of the protagonist soprano. This was Hailey Clark, who created a very vocally solid Fiordiligi, able to navigate the difficulties [of the role] - never better said - of "Come scoglio" with an astounding fluidity throughout all the demanding tessitura...To top it off, the American soprano created, through the beauty of its timbre, a characterization full of charm and sensuality."
"...En esta representación...funcionaron mejor las escenas colectivas que en las individuales, con la salvedad de la soprano protagonista. Ésta fue Hailey Clark, que recreó una Fiordiligi muy solvente en lo vocal, capaz de sortear los escollos - nunca mejor dicho - de “Come scoglio” con una fluidez pasmosa a lo largo de toda la exigente tesitura...La soprano americana remató, apoyándose en la belleza de su timbre, una caracterización llena de encanto y sensualidad."


--JOSÉ AMADOR MORALES, 
CODALARIO CLASSICAL MUSIC MAGAZINE , 25 APRIL 2017



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AS MUSETTA IN A NEW PRODUCTION OF LA BOHÈME, SALZBURGER LANDESTHEATER- HAUS FÜR MOZART, SALZBURG, AUSTRIA, 2017
CONDUCTOR: MIRGA GRAŽINYTĖ-TYLA, DIRECTOR: ANDREAS GERGEN

NOMINATED: "BESTE WEIBLICHE NEBENROLLE - OESTERREICHISCHER MUSIKTHEATERPREIS 2018" for portrayal


"Musetta (Hailey Clark) [was played] charmingly...with rich coloratura."
"Musetta (Hailey Clark) bezauberte...mit satten Koloraturen."

--HANS GÄRTNER, 
TABULA RASA MAGAZIN, 14 MARCH 2017



"For the company outing in its own city donated the house excellent forces ... Hailey Clark is not a pointed, cold Musetta, but could be almost a rival Mimì's. It would have been nice to have known more about these young people [Musetta and Marcello]..."
"Für den Betriebsausflug in der eigenen Stadt spendiert das Haus hervorragende Kräfte...Hailey Clark ist keine spitze, kalte Musetta, sondern könnte fast eine Rivalin Mimìs sein.  Gerne hätte man in der Aufführung mehr gewusst von diesen jungen Menschen..."

--MARKUS THIEL, 
MÜNCHNER MERKUR, MARCH 2017



"The ensemble is of high quality...crystal-clear the coquettish Musetta of Hailey Clark."
"Das Ensemble ist von hoher Qualität...Glasklar auch die kokette Musetta der Hailey Clark."

--HELMUT CHRISTIAN MAYER, 
KURIER, 3 MARCH, 2017



"With the soloists, the Salzburg State Theater had a lot of luck this time ...Hailey Clark as a fun-loving Musetta...a deserved success for the Landestheater."  
"Mit den Solisten hatte das Salzburger Landestheater diesmal viel Glück...Hailey Clark als lebenslustige Musetta...Ein verdienter Erfolg für das Landestheater."

--PETER JUNGBLUT, 
BR-KLASSIK, 27 FEBRUARY 2017




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AS MICAELA IN CARMEN, FLORIDA GRAND OPERA, MIAMI USA, 2016
CONDUCTOR: RAMON TEBAR, DIRECTOR: BERNARD UZAN

"The longest applause and most numerous bravas were heaped opening night on soprano Hailey Clark as Micaela, the “good girl” from Don Jose’s hometown. Her lengthy prayerful fretting is expertly carried off from a technical standpoint. But more affectingly, her voice wafts like wind through tree branches believably embodying a purity that ought to seem ludicrous in 2016."


--BILL HIRSCHMAN, 
FLORIDA THEATER ON STAGE & SOUTHFLORIDA.COM NOVEMBER 2016



"Soprano Hailey Clark as Micaela struck a contrast to Venditti's bold Carmen. She captivated the audience in the beautiful aria “Je dis que rien ne m’épouvante,” effortlessly soaring in the aria’s highest ranges for an absolutely gorgeous interpretation."


--MICHELLE F. SOLOMON, 
MIAMIARTZINE NOVEMBER 2016



"Without question the vocal highlight was Hailey Clark whose Micaëla shows that this girl really is almost as tough (though not rough) as her rival, her kindness never sweet. This woman has an unwavering moral compass."


--JEFF HALLER, 
CONCERTONET, NOVEMBER 2016



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AS ALMA BEERS IN A NEW PRODUCTION OF BROKEBACK MOUNTAIN, SALZBURGER LANDESTHEATER, SALZBURG AUSTRIA, 2016
CONDUCTOR: ADRIAN KELLY, DIRECTOR: JACOPO SPIREI

WINNER: "BESTE WEIBLICHE HAUPTROLLE - OESTERREICHISCHER MUSIKTHEATERPREIS 2017" for portrayal 



"From the many smaller roles stands out Hailey Clark as a fabulous Alma, Ennis' frustrated wife."
"Von den vielen kleineren und sehr kleinen Rollen stechen noch Hailey Clark als fabelhafte Alma, Ennis frustierte Frau."

--HELMUT CHRISTIAN MAYER, 
OPERNNETZ.DE, FEBRUARY 2016



"Vocally, an All-Star-Cast here is truly gathered...also secondary characters like James Moellenhof, Anna Maria Dur and Hailey Clark stand out."
"Sängerisch ist hier wahrlich ein All-Star-Cast versammelt...aus der Vielzahl von Mittel- oder Nebenfiguren ragen James Moellenhoff (Hogboy), Anna Maria Dur (Mrs. Twist) und Hailey Clark (Alma Beers) heraus."


--JÖRN FLORIAN FUCHS, 
BR KLASSIK, FEBRUARY 2016



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AS NORINA IN A NEW PRODUCTION OF DON PASQUALE, OPERA NAPLES, NAPLES, FL USA, 2016
CONDUCTOR: RAMON TEBAR, DIRECTOR: JEFFREY BUCHMANN

"Clark somersaulted through her tough runs with bell clarity and purity — she is an impressive young soprano whose name will likely show up in larger venues soon...a strong, sweet bel canto soprano." 


--HARRIET HOWARD HEITHAUS,
NAPLES DAILY NEWS, JANUARY 2016


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AS FIORDILIGI IN COSÌ FAN TUTTE, FLORIDA GRAND OPERA, MIAMI, FL USA, 2015
CONDUCTOR: RAMON TEBAR, DIRECTOR: BERNARD UZAN



"Clark imbued Fiordiligi with real emotions rather than the caricature of a prima donna. Most importantly she can rise to the role’s vocal challenges. She brought energy, fervor and dramatic passion to Fiordiligi’s “Come scoglio” and “Per pietà, ben mio.” Her strong low tones, fine projection and ease in coloratura passages propelled the ensembles as well as solo showpieces. Clark is a very promising soprano." 


--LAWRENCE BUDMEN,
SOUTH FLORIDA CLASSICAL REVIEW (MIAMI, FL, 2015)



“Clark knocked it out of the park with a flawless commanding “Come scoglio” followed by a truly inspiring “Per pietà.” The tough coloratura seemed to encourage, not intimidate her. With this performance, she demonstrates the commitment needed to tackle the big stuff.”


--JEFF HALLER FOR
WWW.CONCERTONET.COM (MIAMI, FL, 2015)


"Clark's voice is an impressive instrument...Fiordiligi's first aria, 'Come scoglio,' is one of the most difficult arias in the soprano repertory with a range from A3 to C6...Clark has a nice even voice with a beautiful top and a reasonably substantial bottom that allowed her to be heard even in the lowest sections of the aria. It was a superstar performance."  


--JACK GARDNER FOR
EDGE MEDIA NETWORK (MIAMI, FL, 2015)



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AS DONNA ELVIRA IN DON GIOVANNI, NORTH CAROLINA OPERA, RALEIGH, NC USA, 2015
CONDUCTOR: TIMOTHY MYERS, DIRECTOR: CRYSTAL MANICH

"As Donna Elvira, abandoned by Don Giovanni, Hailey Clark’s bright, silvery soprano expresses hurt, jealousy and vexation equally well." 


--ROY C. DICKS,
THE NEWS AND OBSERVER (RALEIGH, NC, 2015)



"​Ms. Clark used the roulades and climactic top As in 'Ah! fuggi il traditor!' as springboards for launching Elvira’s emotions into the laps of listeners, and the security of her singing of 'Non ti fidar, o misera' provided the energy that made the quartet a highlight of the performance.​..Clark sang stunningly, the voice soaring above the turbulent orchestrations...A charge of dramatic electricity coursed through the auditorium whenever Ms. Clark was on stage, but the true glory of her Elvira was musical. She had every note of the part in her voice and knew how to place and project every tone with ideal impact. Hers was an Elvira to be loved, not pitied: whatever trouble partnering such a firebrand might cost him, Giovanni seemed a fool for having discarded such a woman as Ms. Clark portrayed.  


--JOSEPH NEWSOME FOR
"VOIX DES ARTS" (RALEIGH, NC, 2015)


"All the coloratura was vividly in place as soprano Hailey Clark railed against her seducer Don Giovanni. She was believable in rage and as the all-too-susceptible woman." 


--WILLIAM THOMAS WALKER FOR
CLASSICAL VOICE OF NC (RALEIGH, NC, 2015)

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AS LEILA IN THE PEARL FISHERS, FORT WORTH OPERA, FT. WORTH, TX, USA, 2014
CONDUCTOR: JOE ILLICK, DIRECTOR: JOHN DE LOS SANTOS


"Soprano Hailey Clark, as Leïla, possesses a fluid, flexible voice; suitable for a role that looks fondly back at the florid bel canto era of the early 19th century." 
--WAYNE LEE GAY,  
D MAGAZINE (DALLAS/FORT WORTH, TX, 2014)


"In lovely feminine contrast was the bejeweled priestess Leïla, sung by soprano Hailey Clark. Clark’s voice, while not as booming as her male counterparts, is focused and delightfully flexible. She closed Act I with a magnificent cadenza at the end of “O Dieu Brahma.”​ 


--LAURIE L. LINDEMEIER,
THE COLUMN (DALLAS, TX, 2014)