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P U B L I C I T Y

[Translated to English from French] "Marie, the girl adopted by the regiment, was sung by Ottawa soprano Thera Barclay, whose crystalline voice and very agile coloratura passages were appreciated (...) Lots of brilliance in the aria “Au Bruit de la Guerre”, pure moments of bel canto in the Romance (act I) and in the Cavatina (act II) as well as a strong sense of comedy during her forced metamorphosis into a young girl from high society (act II) highlighted her many qualities, both vocal and stage."
- Irene Brisson, Revue L'Opéra - La fille du régiment (G. Donizetti), 2023

 "Thera Barclay, in the role of Flora, was also a delight to hear. I don’t know Barclay’s voice well, but after this show I’m looking forward to hearing a lot more of it."

- Greg Finney, Schmopera - The Turn of the Screw (B. Britten), 2024

"Thera Barclay’s Diana was suitably ambiguous; sometimes the girl next door, sometimes the elusive seductress and sometimes outright raunchy."
- John Gilks, Opera Ramblings - Siren Song (J. Dove), 2019

"Countertenor Ryan McDonald and soprano Thera Barclay simultaneously charm and terrify as Miles and Flora respectively." 
- Ian Ritchie, Opera Going TO - The Turn of the Screw (B. Britten), 2024

"Soprano Thera Barclay (Poppea), was vibrant, seductive, ambitious, and hungry for power."
- Daphna Levit, Opera Canada - L'incoronazione di Poppea (C. Monteverdi), 2018

 "Barclay used her bright, pointed instrument and loose physicality to reveal Flora’s somewhat unhinged, mischievous nature."

- Gianmarco Segato, La Scena Musicale - The Turn of the Screw, 2024

 "That said, the next light, bright soprano was actually rather good. Thera Barclay (ADP) produced a well controlled account of Eva Dell’Acqua’s Villanelle with some sparkly coloratura."

- John Gilks, Opera Ramblings - The Glenn Gould School Vocal Showcase, 2020

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