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San Francisco Classical Voice

Philharmonia Baroque Orchestra A Cosmic Notion

October 2019

"...the sensuous siciliano ('Kind Health descends'), pairing soprano Arwen Myers

and [Avery] Amereau, was the most memorable movement..."

 

San Francisco Examiner

Philharmonia Baroque Orchestra A Cosmic Notion

October 2019

"Also notable [was] clear-voiced soprano Arwen Myers..."

 

San Francisco Chronicle

Philharmonia Baroque Orchestra A Cosmic Notion

October 2019

“Soprano Arwen Myers and countertenor Reginald Mobley joined the other vocalists for a splendid, shapely rendition of the 'Ode for the Birthday of Queen Anne...' Both seemed worthy of being included in any future space-bound communiques."

 

Fanfare Magazine

In Mulieribus Cycles of Eternity (album)

May 2019

“There is a long soprano solo,

delivered with the utmost purity by Arwen Myers..."

 

Oregon Arts Watch

In Mulieribus Cycles of Eternity (album)

May 2019

““Life,” features soprano Arwen Myers in a dramatic and colorful solo —

at first robust, then lyrical and compelling."

Palm Beach Arts Paper

Seraphic Fire I Have a Dream

January 2019

“Another fine solo came from soprano Arwen Myers, who gave Evelyn Simpson-Curenton’s arrangement of 'Lord, How Come Me Here?' a deep poignancy. Her voice has a distinctive, mature coloring that filled the despairing text with palpable feeling."

 

San Francisco Chronicle

American Bach Soloists Academy Semele

August 2018

“That the dealings between Semele and Jupiter landed with some emotional force was due to the strong performances by soprano Arwen Myers and tenor Chase Henry Hopkins, both of whom delivered their assignments with tenderness and gusto. Myers’ crystalline tone and delicate passagework helped make Semele into a figure of both pathos and ridicule.”

San Francisco Classical Voice

American Bach Soloists Academy Semele

August 2018

“Some of these star turns were shiny indeed, with soprano Arwen Myers leading the way as Semele. In aria after aria — four alone in Scene 2 of Act III — Myers used her light, clear and nimble voice to fashion a portrait of an innocent drawn into waters over her head. Early on, in sinuous and persuasive expression of her distress, she fretted in one of the libretto’s many adroit rhymes: “O Jove! In pity teach me which to choose/Incline me to comply, or help me to refuse!” By the end of the first act, she’d taken the plunge into “endless pleasure, endless love,” spilling out coy and playful trills.

 

“Myers’s mastery of ornamented lines was put to the ultimate test in “Myself I shall adore,” in which she turned the fourth wall into a mirror to preen and admire herself. One silvery trill, decorated run and arpeggiated filigree followed another. “O sleep, why dost thou leave me” was tenderly shaped.

Oregon Arts Watch

Portland Baroque Orchestra & Trinity Music Bach B Minor Mass

April 2018

“The arias and duets were something special. Mr. Hill had at his disposal a stellar counter tenor, Daniel Moody; stentorian baritone Jesse Blumberg; the jewel-voiced local soprano Arwen Myers; German-born tenor Nils Neubert; and versatile soprano Estelí Gomez. Each of these singers carries a lengthy resumé of wide-ranging credentials, nationally and internationally.

 

“Ms. Myers sang with a sterling silver patina throughout, especially effective in the duets ‘Christe eleison’ (Christ have mercy), with Ms. Gomez, and later ‘Domine Deus’ (Lord God, King of Heaven) with Mr. Neubert.”

Vancouver Classical Music

Early Music Vancouver Vivaldi's Women

April 2018

“The two sopranos, Arwen Myers and Danielle Sampson, exhibited fine teamwork in ‘Laudamus te’ while Myers gave a truly delectable rendering of ‘Domine Deus.'"

Oregon Arts Watch

Fear No Music The Fertile Crescent

November 2017

“Myers, whom I had most recently heard singing Mozart’s Requiem with Cappella Romana and Portland Baroque Orchestra, shone as a soloist. Her voice could have overpowered Lukas’ low flute and Payne’s delicate prepared piano, particularly in the small and resonant Old Church, and I was as impressed by her restraint as by her focused performance of Ali-Zadeh’s strange, difficult, flourish-adorned melodies.”

Oregon Arts Watch

Northwest Art Song Nevertheless, She Persisted

October 2017

“...the five-song set showed off Myers’s abilities to great advantage… ‘All Things Live’ was one standout, with Myers ripping out fast, digitally precise scales and other vocal fireworks, popping off

a couple of high D’s as if they were the easiest thing in the world. Even more attractive was the off-kilter, halting waltz ‘A Tale for Children and Taller Ones,’ which dusted the cleverest lyrics and most colorful piano writing of the set with another dash of delicious musical acrobatics from Myers. […] consummate lyricism…”

Oregon Arts Watch

Portland Symphonic Choir Muehleisen Pietà

October 2017

“Soprano soloist Myers was radiant in the role of the Mother of Jesus, and probably,

a universal mother to all. Her part demands a sprawling range, and an armor-piercing tone at times,

all beautifully executed. In character throughout, Myers came through it all with a perfect aplomb,

and pitch perfect musicianship.”

Northwest Reverb

Portland Symphonic Choir Muehleisen Pietà

October 2017

“…fine soloists… Arwen Myers sang her solos with passion and commitment, her vibrant

soprano rising above the choir in a wail of anguish during The Passion of the Mother.”

Oregon Music News

Astoria Music Festival Sound the Trumpet

June 2017

“Myers added much to the evening, demonstrating a splendid vibrato, complex ornamentation,

well-placed trills and utter control of the upper range throughout, particularly in the upbeat opening number by Handel, ‘Let the bright seraphim’ from Sampson. On a more pensive note, ‘O Let Me Weep’ from Purcell’s Fairy Queen demonstrated Myers’ marvelous ability to infuse emotion in slower passages while keeping her voice bright.”

Oregon Arts Watch

In Mulieribus Madrigalia

March 2017

“…the trio (Myers, van der Salm, and Ferguson) singing Luzzasco Luzzaschi’s ‘T’amo mia vita’ sounded as if they were just one person with three voices... Myers delivered a stunningly beautiful interpretation of Monteverdi’s ‘Lamento della Ninfa,’ augmented by the male trio.”

Oregon Arts Watch

Portland Baroque Orchestra & Trinity Music Weihnachtskonzert

December 2016

“…silky smooth…”

Northwest Reverb

Northwest Art Song Cabaret

November 2016

“…Myers sang […] with such heartfelt poignancy…”

Oregon Arts Watch

The Ensemble of Oregon B Minor Mass

April 2016

“Concertmaster Adam LaMotte was a crown jewel to Arwen Myers’ lovely ‘Laudamus Te.’”

Oregon Arts Watch

In Mulieribus Horae

March 2016

“Soloists Arwen Myers and Catherine van der Salm delighted us in their bravura singing.”

Oregon Arts Watch

Musica Maestrale Couperin, Leçons de tenebre

February 2016

“The highly ornamented melodies of the Tenebres lessons were perfectly       

illustrated by the sinuous and silvery voices of Myers and van der Salm.”

Oregon Arts Watch

The Ensemble of Oregon Purcell, Dido & Aeneas

January 2016

“Soprano Arwen Myers was brilliant…”

Oregon Arts Watch

In Mulieribus

December 2015

“…Arwen Myers, whose voice was like watching a series of lovely bubbles

rise unfettered across the vocal landscape.”

Oregon Arts Watch

Resonance Ensemble War & Peace

June 2015

“Soprano Arwen Myers and baritone Kevin Walsh sang triumphantly in the bookend solos.”

Oregon Arts Watch

Bach Cantata Choir Vivaldi Gloria

December 2014

“The soloists deserved plaudits. [...] Another new voice to Portland,

soprano Arwen Myers, was stellar in her solo."

Oregon Arts Watch

Bach Cantata Choir BWV 177

November 2014

"...outstanding soloists… Myers displayed great facility and beauty of tone and held her ground

during the unscheduled absence of the english horn in the intricate third movement duet.”

Oregon Arts Watch

Portland Baroque Orchestra & Trinity Music Bach Wachet auf

December 2012

““Thoreson and soprano soloists Arwen Myers and Amanda Jane Kelley, tenor David Buchanan,

and bass David Stutz contributed to the intimate atmosphere by using conversational

rather than declamatory styles.”

Indianapolis Star

Indianapolis Symphony Orchestra Fauré Requiem

December 2011

“Two soloists from the choir did remarkable work…  soprano Arwen Myers   

created an atmosphere of pure supplication in ‘Pie Jesu.’”

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© 2019 by ARWEN MYERS