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Reviews

"Thomas Ades' Life Story expertly captures the wry discomfort of the one-night stand depicted in Tennesee Williams's poem of the same name.  Busy neo-Expressionist piano textures provide support, not cover, for a challenging yet idiomatic soprano line....  Caprice Corona's singing was exemplary, sporting a large yet smooth sound, scintillating enunciation, and evocative stage presence." 
- New Music Connoisseur

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"The Bronx Opera's production was a model of concision and elegant simplicity.  Ultimately, the dramatic impact of The Consul rests upon Magda Sorel.  Caprice Corona rose to the challenge admirably.  Although at first her performance did not elicit sympathy, gradually, inevitably, she won the audience over.  Her To This We've Come was beautifully performed and very well received."
- Opera News Online

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"Caprice Corona made a moving Magda Sorel, wife of the fugitive revolutionary, John Sorel.  Corona's effort was a riveting tour-de-force, with her desperate aria "To this we have come," in which, scattering a blizzard of paper, she attempted to wrest an empathetic response from the secretary to the Consul of the country in which John would seek refuge, and her delirium and suicide scene, when, to prevent John from taking the risk of returning, she turned on the stove in their apartment and waited for the gas to overcome her."
- TheatreScene.net

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Click this link for The Sacramento Bee's 7/26/04 feature story on Caprice's West Coast recital debut

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"This production featured one of the most well-rounded casts in A[marillo] O[pera]'s history.  The company is attracting some powerfully gifted guest artists...highlights included [Elizabeth] King, [Jayoung] Yoon and Caprice Corona as the three women loved and left by [Don Giovanni]."
- Amarillo Globe

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"Two sopranos with strikingly dark-hued voices likewise made particularly strong impressions.  Harvard graduate Caprice Corona took advantage of the early climax in L'altra notte from Boito's Mefistofele to command the room."
- Fort Worth Star-Telegram

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"Caprice Corona's meaty soprano and cut-glass diction made a strong case for Jonathan Holland's settings of works by Elizabeth Bishop and Sandra Cisneros."
- Boston Globe
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