A bold, powerful interpreter.
Simply put, she’s a rock star in this genre.
photo: Claudia Hansen
photo: Jeffrey Packard
photo: Evren Selvi
photo: Becky Starobin
photo: Liz Linder
photo: Aleksander Karjaka
photo: Steven Bruns
photo: Armen Elliott
Soprano Tony Arnold is a luminary in the world of chamber music and art song. Today’s classical composers are inspired by her inherently beautiful voice, consummate musicianship, and embracing spirit.
The riveting and pure-voiced soprano Tony Arnold…has a broader gift for conveying the poetry and nuance behind outwardly daunting contemporary scores.
Anything sung by soprano Tony Arnold is worth hearing.
There are long stretches of pliant, lyrical Italianate melodic lines, sung with melting beauty by the impressive soprano Tony Arnold, who also easily navigated every vocal leap with uncanny precision.
Arnold, at the close of a swirling, almost shamanistic performance…brought to mind a village elder singing into a tape recorder, the last master of her tongue.
A dedicated interpreter, she offered a spellbinding performance of this tremendously taxing work, finessing low-chanted Yorta-Yorta words to altissimo register ululations and all manner of styles between.
Soprano Tony Arnold was the terrific singer and narrator, making a personal tour de force of the cycle and doing so with a musicality and virtuosity that have made her the Cathy Berberian of her generation. …I can’t imagine a finer interpreter of the texts than Arnold; this superb singing actress threw herself into words and music with delectable gusto.
Tony Arnold was the convincing, mesmerizing soprano in both song cycles… The performance was stunning. Arnold remained restrained. Her voice flowed ethereally in and out of the jingle-jangle percussion jungle. The sounds were always changing and always alluring. …Arnold was magnificent.
A soprano of formidable range and extensive timbral palette, Arnold navigates the dichotomies of introversion and extroversion, dreamy infatuation and bold pronouncement, with unencumbered tone and bright delivery of the text.
Tony Arnold is a marvel in this music, a real new-music trooper who knows the intricate ins-and-outs of Messiaen.
Tony Arnold’s performance of these two classics was all that one could have hoped for, and then some. Here again, she amply demonstrates through her obvious intelligence, rich, supple and elastic voice, and dramatic delivery that she is at the service of contemporary music, on stage not to charm or entertain, but rather to warm us to this difficult music and present it in a manner that could only deeply satisfy the composer.
Soprano Tony Arnold is admirably melliﬂuous in the song sets, the wide-spanning lines given their full lyrical weight.
Arnold’s drama is touching, with a sense, from the freshness of her singing and from her thoughtful involvement, that the experiences reﬂected, refracted or directly conveyed in these miniature scenes are happening to her, right now, as she utters.
As usual, soprano Tony Arnold was a marvel, unintimidated by the thorny score’s brutal leaps and stratospheric range.
If you see Tony Arnold’s name listed for a concert, buy a ticket immediately.
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