Hailey Clark
CRITICAL ACCLAIM / KRITIKEN
-"VOCALLY AND EMOTIONALLY TOUCHING..."
-THE HUFFINGTON POST
"Hailey Clark is a dazzling Rachel in many facets.
Her gentle, glowing-from-the-inside soprano outshines the orchestral sound, but on the other hand can cling to it like a velvet carpet."
-opernwelt
"hailey clark makes the title role [Alcina] thrillingly her own "
-financial times
AS THE QUEEN OF HEARTS IN UNSUK CHIN'S ALICE IN WONDERLAND (DUTCH PREMIER) - HET CONCERTGEBOUW, RADIO FILHARMONISCH ORKEST, NETHERLANDS 2024
CONDUCTED BY MARKUS STENZ
“The Queen of Hearts’ rise was one for the books. Hailey Clark sang this killer role fantastically, and with the necessary humor.”
[🇳🇱] “De opkomst van de Queen of Hearts was er een uit het boekje. Hailey Clark zong deze moordende rol fantastisch, en met de nodige humor.”
TROUW
Peter van der Lint, 2 June 2024
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“fantastically sung and acted by Hailey Clark”
[🇳🇱] “…fantastisch gezongen en geacteerd door Hailey Clark”
VOLKSKRANT
Jenny Camilleri, 2 June 2024
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”Hailey Clark’s Queen of Hearts…dramatically beautiful voice and appearance…”
[🇩🇪] “Hailey Clarks Queen of Hearts… ihrer dramatisch schönen Stimme und Erscheinung…”
BACHTRACK
By Michael Klier, 2 June 2024
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AS FREIA IN THE REVIVAL OF DAS RHEINGOLD (Wagner), BAYREUTHER FESTSPIELE, GERMANY, 2023
CONDUCTOR PIETARI INKINEN, DIRECTOR VALENTIN SCHWARZ
”Hailey Clark has a glowing soprano voice as Freia.”
[🇩🇪] “Hailey Clark verfügt als Freia über einen leuchtenden Sopran.”
-Online Musik Magazin
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”With kidnapping, re-education and the sale of children, it's no wonder that Freia, the goddess of love, can only endure it all when she's drugged, but Bayreuth debutant Hailey Clark is vocally absolutely present."
[🇩🇪] ”Bei Entführung, Umerziehung und der Verkauf von Kindern ist es kein Wunder, dass Liebesgöttin Freia das alles nur weggetreten unter Drogen aushält, aber Bayreuth-Debütantin Hailey Clark ist stimmlich absolut präsent.”
-BR Klassik
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“Freia has found a first-class representative in Hailey Clark."
[🇩🇪] ”Freia hat mit Hailey Clark eine erstrangige Vertreterin gefunden.”
-KULTUR BRIEF
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”these are all details of a well-considered character profile, which Hailey Clark also precisely equipped..."
[🇩🇪] “…das alles sind Details eines wohl überlegten Figurenprofils, des Hailey Clark auch präzise ausgestattet…“
-Frankfurter Allgemeine Zeitung
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“Hailey Clark’s Freia…vocally expressive…”
[🇮🇹] ”La Freia di Hailey Clark…vocalmente espressiva…”
-GBOpera.it
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AS RACHEL IN THE REVIVAL OF LA JUIVE (F. Halevy), STAATSOPER HANNOVER, GERMANY, 2023
CONDUCTOR STEPHAN ZILIAS, DIRECTOR LYDIA STEIER
"Hailey Clark’s wonderfully full-bodied, darkly inflected soprano conveys Rachel’s complex character. She has both the power and the range, and she projects thrillingly into the auditorium. Both Clark and Mercedes Arcuri have absolutely secure upper registers and when they soar together at the end of Act 3 it’s gripping – Arcuri’s bright gleam a lovely complement to Clark’s richness. Their duet in Act 4, when Eudoxie visits Rachel in prison and begs her to retract her confession and thus save Léopold’s life, is no less tense and compelling, and the fast, closing section draws superb singing from both."
- Claire Seymour, OPERA TODAY, May 2023
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"The soprano Hailey Clark proves to be absolutely ideal for the title role. She sings Rachel, the Jewess, with great intensity, surrendering herself completely to the dramatic moment and is able to touch deeply."
"Die Sopranistin Hailey Clark erweist sich hierbei als absolute Idealbesetzung für die Titelrolle. Mit großartiger Intensität singt sie Rachel, die Jüdin, liefert sich ganz dem dramatischen Augenblick aus und kann damit tief berühren."
- Dominik Lapp,Kultur Feder, April 2023
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"Hailey Clark embodies Rachel with a warm, sonorous timbre."
Hailey Clark verkörpert mit warmem, klangvollem Timbre Rachel.
- Ursula Decker-Bönniger, Klassik Magazin, May 2023
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AS FIORDILIGI IN PALM BEACH OPERA'S COSI FAN TUTTE (2023)
CONDUCTOR DAVID STERN, DIRECTOR FENLON LAMB
"As Fiordiligi, the soprano Hailey Clark gave an affecting, passionate performance. The character’s famous aria of unshakeable devotion, “Come scoglio,” came off with red-hot fury, skillful coloratura and a gleaming tone. In her duet with Ferrando, she brought real anguish to the moments when she finally surrenders to him, making this weird half-fake love scene into an episode of real romantic warmth."
- David Fleshler, South Florida Classical Review, February 2023
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"Clark effortlessly sailed at the top of the ensemble in delicate perfection...[she] later performed “Come scoglio” with bold presence and evenness of tone from top to bottom."
-Sarah Hutchings, Yahoo/The Palm Beach Post, February 2023
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AS ROSALINDE IN CENTRAL CITY OPERA'S DIE FLEDERMAUS (2022)
CONDUCTOR JOHN BARIL, DIRECTOR JOACHIM SCHAMBERGER
"In the tradition of 19th-century comedic opera, the female arias are filled with coloratura acrobatics on a grand scale, and Clark's soaring and expressive soprano...reverberate[s] throughout the opera house's excellent acoustics. Clark stops the show in Act II with her magnificent czardas, in which she pretends to be an Hungarian countess."
- Bob Bows,Colorado Drama, July 2022
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AS ALMA BEERS IN THE STAADTTHEATER GIESSEN PREMIER OF BROKEBACK MOUNTAIN (C. WUORINEN)
CONDUCTOR: FABRIZIO VENTURA, DIRECTOR: CATHERINE MIVILLE, Photos Rolf K. Wegst
"Hailey Clark stepped in at short notice for a sick colleague, but she already knew the role and the work from Salzburg, where she sang Alma at the Austrian premiere. In this way, she succeeded in performing a dramatically and vocally convincing interpretation. Above all, the American captivated with her confident and supple lyrical soprano."
"Hailey Clark sprang zwar kurzfristig fuer eine erkrankte Kollegin ein, doch kannte sie Rolle und Werk schon aus Salzburg, wo sie die Alma bei der Oesterreichischen Erstauffuehrung gesungen hat. So gelang ihr eine darstellerisch und vokal ueberzeugende Interpretation. Vor allem bestach die US-Amerikanerin durch ihren hoehensicheren und geschmeidig gefuehrten lyrischen Sopran."
-L.-E. Gerth, OPERNGLAS, April 2022
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"The female characters, enhanced by the librettist, are also strongly cast. Hailey Clark as Ennis' wife boasts a luscious soprano voice..."
Die von der Librettistin aufgewerteten weiblichen Figuren sind ebenso stark besetzt. Hailey Clark als Ennis‘ Ehefrau trumpft mit üppigem Sopran auf..."
-Michael Demel,Der Opernfreund, 26 February, 2022
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"Hailey Clark sang with a wonderfully radiant soprano..."
-Podcast review by Christiane Hillebrand, forhr2 Radio Deutschland
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AS ALCINA IN THE PREMIER OF ALCINA (G.F. Handel), STAATSOPER HANNOVER, GERMANY, 2020
CONDUCTOR: RUBEN DUBROVSKY, DIRECTOR LYDIA STEIER, photos by Sandra Then
"Director Lydia Steier gives the magic opera "Alcina" a surprising twist - and prepares the stage for a Diva that has not existed in Hanover for a long time...The American soprano sings this aria ["Ah, mio cor!"], which belongs to the most beautiful and darkest that Handel composed, so clearly and directly, so deeply felt and relentlessly transported to the outside that it is hardly possible not to be touched by it. In doing so, it also overcomes the spacial distance: suddenly the state opera no longer seems much too large for the often very small-scale production. Clark floods the hall with voice and presence: she is a Diva, the likes of which Hannover has not had. The soprano becomes the power-center of a strong evening of opera, and her great aria marks the musical heights of the evening..."
"Regisseurin Lydia Steier verleiht der Zauberoper „Alcina“ eine überraschende Wendung – und bereitet die Bühne für eine Diva, wie es sie lange nicht mehr in Hannover gab. Die US-amerikanische Sopranistin singt diese Arie, die zur schoensten und dunkelsten Musik gehoert, die Handel komponiert hat, so klar und direkt, so innig tief empfunden und schonungslos nach aussen transportiert, dass es kaum moeglich ist, nicht davon beruehrt zu werden. Dabei ueberwindet sie auch die raumliche Distanz: Auf einmal scheint die Staatsoper nicht mehr viel zu gross fuer die oft sehr kleinteilige Produktion. Clark flutet den Saal mit Stimme und Praesenz: Sie ist eine Diva, wie sie Hannover laenger nicht mehr gehabt hat. Die Sopranistin wird zum Kraftzentrum eines starken Opernabends...Clarks grosse Arie aber markiert nicht nur den musikalischen Hoehesondern auch den szenischen Wendepunkt des Abends."
-Stefan Arndt, HAZ (Hannoversche Allgemeine Zeitung), 9 February, 2020
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"Director Steier has managed to bring a brightly colored work onto the stage, which is a hybrid of the great Baroque era and at the same time great opera - something that Hailey Clark brings across with no 'if's or 'but's. Goosebumps! Because she, who embodies "Alcina," has that certain "something," the "magic," a stage presence that is unbelievable, only known from great divas! And the performances are a feast for the eyes - once in white fur in front of glittering, eerie and dark night sky - great to experience. And the show stairs - as though made for her - with bright bananas, yes and when she sings the [aria] "Ombre Pallide," she plays out her magnificent voice fully."
Regisseurin Steier ist es gelungen, ein knallbuntes Werk auf die Bühne zu bringen, das ist ein Hybrid aus der großen Zeit des Barock und gleichzeitig großer Oper – was Hailey Clark ohne wenn und aber rüberbringt. Gänsehaut pur! Denn sie, die die "Alcina" verkörpert, hat das gewisse "Etwas" das "Magische" eine Bühnenpräsenz, die unglaublich ist, das kennt man nur von großen Diven! Und die Auftritte sind ein Augenschmaus - einmal in weißem Pelz vor sternenglitzerndem, unheimlichem und dunklem Nachthimmel - toll zu erleben. Und die Showtreppe - wie für sie gemacht - mit leuchtenden Bananen, ja und wenn sie das "Ombre Pallide" singt, da spielt sie ihre prachtvolle Stimme voll aus."
-- Ute Micha, Neues 24.com, 10 February, 2020
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"Hailey Clark embodies the title heroine Alcina at the Hanover State Opera ... [Director] Lydia Steier has put on stage a brightly colored marvel, a hybrid of baroque and great opera - which Hailey Clark redeems in the title role unchecked. It's fun to see her grand appearances (sometimes in white fur in front of star-glittering black night sky) or on the show stairs with glowing (!) bananas, and then the [aria] "Ombre pallide" with rich vocal splendor. "
"Hailey Clark verkörpert die Titelheldin Alcina an der Staatsoper Hannover...[Reggiseurin] Lydia Steier hat hier ein knallbuntes Wunderwerk auf die Bühne gestellt, ein Hybrid aus Barock und großer Oper – was Hailey Clark in der Titelpartie ungebremst einlöst. Das macht schon Spaß, ihre großen Auftritte (mal in weißem Pelz vor sternenglitzerndem schwarzen Nachthimmel) zu sehen oder auf der Showtreppe mit leuchtenden (!) Bananen und dann das „Ombre pallide“ mit satter Stimmpracht."
- Henning Queren, NEUE PRESSE, 9 February, 2020
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"Hannover reaps the benefits of a solid ensemble and a conductor who knows his Handel. Hailey Clark makes the title role thrillingly her own..."
- Shirley Apthorp, THE FINANCIAL TIMES, 10 February, 2020
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"Musically, the production scores with strong voices ... Hailey Clark as Alcina puts powerfully dramatic pathos in the soprano role..."
"Musikalisch punktet die Produktion mit starken Stimmen...Hailey Clark legt als Alcina mächtig dramatisches Pathos in die Sopranpartie..."
-Elisabeth Richter,NDR Kultur, 10 February, 2020
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AS RACHEL IN A NEW PRODUCTION OF LA JUIVE (F. Halevy), STAATSOPER HANNOVER, GERMANY, 2019
CONDUCTOR: CONSTANTIN TRINKS, DIRECTOR: LYDIA STEIER, photos by Sandra Then
"Hailey Clark is a dazzling Rachel in many facets. Her gentle, glowing-from-the-inside soprano outshines the orchestral sound, but on the other hand can cling to it like a velvet carpet."
"Hailey Clark ist eine in zahlreichen Facetten schillernde Rachel. ihr sanfter, von innen glühen-der Sopran überstrahlt den Orchesterklang, kann sich ihm anderseits aber auch anschmiegen wie ein samtener Teppich."
- Jürgen Otten, OPERNWELT, November issue, 14 September 2019
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"Hailey Clark as Rachel had enough power for the finale with her big, wonderfully timbred soprano and also found the right colors for the intimate passages of her romance "Il va venir" in the second act."
"Hailey Clark als Rachel hatte dabei mit ihrem großen, wunderbar timbrierten Sopran genügend Kraft für das Finale und fand ebenso die richtigen Farben für die intimen Passagen ihrer Romanze “Il va venir” im zweiten Aufzug."
--S. Mauss, DAS OPERNGLAS, November Issue, 14 September 2019
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"New in the ensemble is the American Hailey Clark, who impressed in the role of Rachel. She led her full-bodied soprano safely and expressively through all the layers, and credibly represented the unconditional lovers until the gruesome end."
"Neu im Ensemble ist die Amerikanerin Hailey Clark, die in der Rolle der Rachel imponierte. Sie führte ihren fülligen Sopran sicher und ausdrucksstark durch alle Lagen und stellte die bis zum schaurigen Ende bedingungslos Liebende glaubwürdig dar."
--Gerhard Eckels, DER OPERNFREUND, 25 September, 2019
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"Hailey Clark sings and embodies the soul of the title role. [She] triumphs with a soprano that is as powerful as it is colorful, full of passion, and convincingly embodies the inner conflicts of the young Rachel."
"Hailey Clark singt und spielt sich in der Titelrolle förmlich die Seele aus dem Leib, trumpft mit so kraftvoll wie farbenreich präsentiertem Sopran voller Leidenschaft auf und verkörpert überzeugend die inneren Konflikte der jungen Rachel.
--Jochen Rüth, DER OPERNFREUND, 25 September, 2019
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"As his daughter Rachel Hailey Clark makes a big splash. Her soprano is available to her with dreamlike technical safety so that she can achieve any minimal change in tone with absolute ease. In the most beautiful, darkly appealing timbre, she is vocally simply a force and can always blossom her phrases in the arias in the most beautiful way."
"Als seine Tochter Rachel sich Sorgen um Hailey Clark für ein großes Aufsehen macht. Ihre Sopranistin steht ihr mit traumhafter technischer Sicherheit zur Verfügung, so dass sie mit absoluter Leichtigkeit minimale Tonveränderungen erzielen kann. In der schönsten, dunkel ansprechenden Klangfarbe ist sie stimmlich nur eine Kraft und kann ihre Phrasen in den Arien immer auf die schönste Weise blühen lassen."
--Friedeon Rosén,ONLINE MERKER, 19 SEPTEMBER 2019
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"Because Hailey Clark is a wonderful, rousing, empathy-demanding Rachel, one believes [her] every tone."
"Denn Hailey Clark ist eine wunderbare, mitreissende, Empathie fördernde Rachel, der man jeden Ton glaubt."
--Joachim Mischke, HAMBURGER ABENDBLATT, 15 September, 2019
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"Hailey Clark is Rachel, clearly in the game, noble timbre in the singing. Her vocal play of colors and charisma make her a center of strength for this performance."
"Hailey Clark is Rachel, klar im Spiel, edel timbriert im Gesang. Durch ihr stimmliches Farbenspiel und ihre Ausstrahlung wird sie zu einem Kraftzentrum dieser Auffuehrung."
--Andreas Falentin,DIE DEUTSCHE BUEHNE, 14 September, 2019
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"Rachel, Hailey Clark...with a dramatically controlled voice that easily fills the opera house."
"Rachel, Hailey Clark...mit einer dramatisch gestaehlten Stimme die muehelos das Opernhaus fuellt."
--Henning Queren, NEUE PRESSE, 15 September, 2019
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"Rachel is Hailey Clark, ideally cast has both the dramatic power for this role and the lyrical qualities."
"Rachel ist Hailey Clark, ideal besezt hat sowohl die dramatische Durchschlagskraft fuer diese Rolle als auch die lyrischen Qualitaeten."
--Uwe Friedrich, DEUTSCHLAND FUNK KULTUR, 15 September, 2019
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"Hailey Clark is a touching sweet, yet fiery Rachel with perfect punch, lyrically blossoming..."
"Hailey Clark ist eine anrührend süße, zugleich feurige Rachel mit perfekter Durchschlagskraft, lyrisch aufblühend..."
--Eleonore Büning, OPER! MAGAZIN, 15 September 2019
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"The strong direction introduces a musically strong team and is all excellently sung. Hailey Clark makes a convincing debut in the title role."
"In der starken Insenierung stellt sich ein musikalisch starkes Team vor. Gesungen wird durchweg hervorragend: Hailey Clark gelingt ein ueberzeugender Einstand in der Titelrolle."
--Stefan Arndt, HAZ (Hannoversche Allgemeine Zeitung), 16 September, 2019
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"Rachel, daughter of the Jew Eleazar, is given by Hailey Clark with suffering devotion and high expression."
"Rachel, Tochter des Juden Eleazar, wird von Hailey Clark mit leidender Hingabe und hohem Ausdruck gegeben."
--Achim Dombrowski,O-Ton Magazin, 14 September, 2019
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"Last but not least: Hailey Clark. The soprano shows everything that is needed for the representation of the Rachel: Emotion, vocal strength, timing. From radiance to vulnerability, from brokenness to great determination, her span ranges. Breathtaking! ...Ten out of ten stars!"
"Last but not least: Hailey Clark. Die Sopranistin zeigt an diesem Abend alles, was es für die Darstellung der Rachel braucht: Emotion, Stimmstärke, Timing. Von Strahlkraft bis Verletzlichkeit, von Gebrochenheit bis großer Entschlossenheit reicht ihre Spanne. Atemberaubend! 10 von 10 Sternen!"
--Marcel Lorenz,UND DAS LEBEN KULTUR BLOG, 27 September, 2019
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"Hailey Clark plays Rachel with warm sounds and colors; also vocally as a self-confident woman who knows what she wants, and who guesses what's coming."
"Hailey Clark zeigt die Rachel mit warmen Klängen und Farben auch stimmlich als eine selbstbewusste Frau, die weiß, was sie will, und die ahnt, was kommen wird."
--Bernd Stopka, ONLINE MUSIK MAGAZINE, 27 September, 2019
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AS ANNE TRULOVE IN A NEW PRODUCTION OF THE RAKE'S PROGRESS, THEATER BASEL, SWITZERLAND, 2018
CONDUCTOR: KRISTIINA POSKA, DIRECTOR: LYDIA STEIER, photos by Lucia Hunziker and Sandra Then
"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, photo by Sandra Then
"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, photo courtesy Central City Opera
"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 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)
Website Hailey Clark © 2016. All publicity photos Eric Melear/Fay Fox.