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Gilgamesh, Opera by Stephen Dickman, La Mama, Peter Kotik, Conductor

“Dιsirιe Halac, a mezzo-soprano, gave a performance in the best sense of the word, singing with a simple intensity that let you hear the true sound of her voice and understand every word, and turning each gesture into a moment of significance, down to the graceful, regal way she tossed aside the pages of her score”.
—Anne Midgette, The New York Times
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I Barbieri di Siviglia (Rosina), Virginia Opera, Peter Mark, Shannon Conductors

“She sailed through the challenging aria “Una voce poco fa”, maneuvering her light voice through the dazzling coloratura. She remained at this high level the rest of the evening”.
—Lee Teeply, The Virginia-Pilot

“Halac handled the vocal passages more than admirably. Her famous Act II aria “Una voce poco fa,” in which she sings of her love, showed nice technique and sweetness.”
—David Nicholson, Daily Press
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Les Contes d’Offmann (Nicklausse) Aspen Festival Opera, John de Main, Conductor

“As his friend/mentor the Muse/Nicklausse, mezzo Dιsirιe Halac gave the role the stature it deserves but seldom gets. Her Act 2 aria ruminating on love was sumptuous and her “Belle nuit” barcarolle duet with Giuletta in Act 3 was beautiful”.
—Jeff Bradley, The Denver Post
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I Capuletti e i Montecchi (Romeo), The Mannes Opera, Guimaraez, Conductor

“Dιsirιe Halac showed the firmest stylistic grasp; her singing was always motivated and she aimed her rich tone with expressive passion”.
—John W. Freeman, Opera News
“Dιsirιe Halac was a strong, confident Romeo”
—Alan Kozinn, The New York Times
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Handel’s Radamisto (Zenobia), Mannes Opera Ensemble, Will Crutchfield, Conductor

“...and Dιsirιe Halac, the Zenobia, was an affecting performer, who could hold the audience rapt in her delivery of the music”
—Andrew Porter, The New Yorker


“In the role of Zenobia, Radamisto’s wife, Dιsirιe Halac was forthright and convincing, at one moment turning from her husband to her conqueror in alternating mezzo lines, shifting vocal and dramatic character with ease.”
—Edward Rothstein, The New York Times
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The Romance of the Rose, (15th century music drama), Mannes Early Music Ensemble, Paul Echols, Director

“Dιsirιe Halac sang gorgeously as both Fair Welcome and Shame”
—Alan Kozinn, The New York Times
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Carmen, Mannes Opera Ensemble, Scott Wiley, Conductor

Dιsirιe Halac the sinuous flowing Carmen”
—Bernard Holland, The New York Times
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CosΟ fan tutte (Despina) Mannes School Of Music, William Crutchfield, Conductor

“The best singing of the night came in the two supporting roles.…Dιsirιe Halac brought a nimble spirited soprano to Despina, ably negotiating the chambermaid’s various changes of costume and voice”
—Alex Ross, The New York Times
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Concert, The Jupiter Symphony, Jens Nygaard, Conductor

“Dιsirιe Halac, a mezzo-soprano with a warm rounded tone, gave thoughtfully characterized readings of arias from Don Giovanni and La Clemenza di Tito”
—Alan Kozinn, The New York Times
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Recital, Song From Latin America, Albany University

“Sometimes all the elements are there to make a truly great concert. On Sunday, mezzo- soprano Dιsirιe Halac and pianist Max Lifchitz joined in a terrific concert. Halac is a marvelous singer who creates a moment of extreme intimacy in each song she sings. What a concert- it will stay a long time in the musical memory”
—Ron Emery, Albany Times Union
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Concert, The Meridian String Quartet, Weill Recital Hall, Carnegie Hall


—Harris Goldsmith, The Strad Magazine