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| Tropical Baroque Music Festival – Miami, USA - March 2006 |
"Concerto Soave presented a remarkable program at St Philip’s Episcopal Church in Coral Gables. The Argentine soprano María Cristina Kiehr is not only the star of this ensemble but one of the finest Baroque vocalists on the international music scene. Kiehr’s vibratoless high register has an other-wordly quality. The soprano’s lower range is rich and vibrant. Kiehr’s passionate declamation, ethereal vocalism, and angelic aura held the audience spellbound…
Backing Kiehr’s pristine vocalism, the nimble vivacity of harpsichordist Jean-Marc Aymes and the aristocratic phrasing of viola da gamba virtuoso Jay Bernfeld were a total delight.
It was in the music of Monteverdi that Kiehr shone most brightly. An impassioned, mesmeric account of the rarely heard, incredibly beautiful scena Piano della Madonna was awesome. Her effortless coloratura in Quel Sguardo Sdegnosetto was thee kind of singing of which legends are made." |
| The Miami Herald – March 2006 |
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| "Fue una experiencia inolvidable el impacto de su limpida voz de soprano que dotada del inconfundible luster de mezzo insólitamente evoca al timbre de contratenor. Con agilidad, ataque, trinos y pianísimos impecables, esta inclasificable soprano castrato exhibió un sonido formidable y fresco, caudaloso y natural, casi andrógino a la vez que feminono, donde la emisión - y emoción – surge sin visos de amaneramiento, ostentación o virtuosismo innecesarios ; donde la sensación de orden convive equilibrada con la ornamentación e improvisación propia del período. Kiehr deleitó con la Oygan una Xacarilla de Rafael Castellanos (Guatemala, S XVIII) y el O maria de Barbara Strozzi recordando el « Cantaré tan dulcemente que seré rival de pájaros » (Tarquino Merula), frase que bien podría definirla como artista." |
| El Nuevo Herald – March 2006 |
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| York Early Music Festival – July 2005 – “Canta delle Dame” |
"The greatest revelation of the opening weekend was the chance to absorb the sound of 17th-century Italian convents, where Leonarda and her slightly earlier contemporary Caterina Assandra produced passionate motets of frankly startling worldliness. Maria Cristina Kiehr and Concerto Soave performed these works alongside racy secular cantatas from the Florentine and Venetian courts - and challenged you to tell the difference.
Kiehr possesses the ideal voice for this kind of repertoire. In fact, she seems to possess several voices, not all of them beautiful, but always responsive to the meaning of the text. Over the course of a single line she may swoop from a sibilant whisper, which sounds like angels weeping, to an angry cluck like a goose being throttled." |
| The Guardian – 12 July 2005 (York Early Music Festival review) |
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| "Hers is an ideally pure voice, full, focused and intensified by rich mezzo-soprano qualities. Her approach is at once simple and subtle, echoing the composers' aims of matching vocal inflection to the nuances of the text in music that can be highly sophisticated in expression. This can extend from imitating different shades of the nightingale's song in D'India's Canto di rosignolo, to finding the heart of Dido's human grief in his Infelice Didone, but Kiehr has the sensibility and technical scope to embrace the music's range and intricacy of line, coupled with the imagination to bring it vividly alive." |
| The Daily Telegraph – 17 June 2003 |
