“Emily Birsan was not just a vocal knock-out as Musetta, but brought a depth to the role not always encountered. It is one thing for a soprano to show her tender side as Mimi embarks on her deathbed scene, but even in Act II with the great “Musetta’s Waltz” number, we find Birsan--again with the deft and inventive hand of Lefkowich--bringing more than just a vocal characterization. She begins the famous number in a kind of halting half-waltz with her sugar daddy, Alcindoro, and then in mid-aria works the crowd of gawking onlookers in Carmen-esque “Habanera” fashion. A great touch."

- Madison Magazine
 

" Musetta, with her shimmying skirts and big smile, is easily the highlight of the show, played by Emily Birsan. Birsan is a soprano on the rise that Madison can lay some claim to launching, since she picked up a master of music degree from the University of Wisconsin-Madison in 2010. She makes for a lusty, free-spirited Musetta, and she brings the house down with a glorious rendition of the familiar “Quando men vo,” also known as Musetta’s waltz." 

- The Cap Times

Boston Lyric OPERA

David Angus conducts

Rosetta Cucchi directs

"...remarkable control over her instrument, and gave a multicolored delivery of “Quando m’en vo”, cooing the nightclub-act take on the aria with all the soft-but-unambiguous sultriness of a seasoned chanteuse."

- Boston Music Intellegencier

"soprano Emily Birsan drew all eyes to her with a slinky, hair-tossing performance and seductive singing"

- Boston Classical Review

"Birsan is also a pillar of this “La Bohème”; strong from the start, she conveys Musetta’s firm will and soft heart. She switches skillfully from angry banter with Marcello to tender words to comfort the dying Mimi, and she does it all with inexhaustible vivacity. She also uses an especially delightful technique of ending her high notes in little shrieks while quarreling with Marcello, to great humorous effect." 

- Harvard Crimson

Melbourne Symphony Orchestra

"The ensemble of the four – soprano Emily Birsan. . . – was exemplary, and their solo passages eloquent – and audible. It was a rare privilege to hear all soloists, but I shall never forget . . . or the limber power and sensitivity of Emily Birsan's soprano as it lofted over the walls of sound from chorus and orchestra.”

- Australian Book Review

"The stage was graced with a quartet of first-rate soloists: soprano Emily Birsan was expressive and technically sure, always concerned with balance"

- Performing Arts Hub

Edinburgh International Festival

Sir Andrew Davis

Scottish Chamber Orchestra

"American soprano Emily Birsan as Anne, dressed in a black tulle skirt with a black and cream brocade bodice, radiated warmth with her lovely lyrical voice, particularly so in her prayerful “I go to him”.

Her final parting from the babbling Tom was desperately poignant as her father, a strong voiced supportive Peter Rose, led her slowly away."

- Bachtrack.com, Aug 2015

"Emily Birsan, the newest name to British audiences (but known to Andrew Davis through Chicago Lyric Opera and ), sounded fantastic as Anne. There is brightness and dazzling purity there, exemplified in a fantastic climactic aria at the end of Act 1, but there is also intelligence in her scene with Baba and a beautiful, heartfelt lullaby with Tom." 

- Seen and Heard International

"The Rake’s Progress review – a rare, tender Stravinsky staging. This was a concert staging – no sets, no elaborate costumes, orchestra on stage, not in a pit – but the excellent soloists turned a stark strip of stage into brothels and Bedlam, using only their charisma. Much can be done with little if the cast is this good and this up for it.
...American soprano Emily Birsan was an ardent, luminous Anne Trulove."

- The Guardian, Aug 2015