New York Times – Zachary Woolfe (8.Nov. 2015)
“Like many, I’ve walked through Times Square and experienced something I can only properly call despair. But I tip my hat to the lady who was drifting, crouching, shrieking and generally existing just past the verge of a nervous breakdown between 42nd and 43rd Streets on Broadway early Saturday evening. Even at my worst, she had me beat.This was the potent soprano Carole Sidney Louis, singing the nameless, desperate Woman in Arnold Schoenberg’s 1909 monodrama “Erwartung” (“Expectation”). Or, rather, she was singing the nameless, desperate Woman in “Arnold Schönberg’s ‘Erwartung’: A Performance by Robin Rhode,” which is not quite the same thing….”
ARTSY EDITORIAL- BY ALEXANDER FORBES (NOV 10TH, 2015)
“…Billed as a “30-second anxiety attack extended musically into a 30-minute opera” in paraphrasis of its original composer, Arnold Schönberg, Erwartung drew crowds from the art world to an oval stage on Broadway between 42nd and 43rd Streets. It also drew many more uninitiated onlookers to the exterior of the seating area to snap a photo or, in at least the case of one portly man, stand with mouth agape. A reimagining of Schönberg’s 1909 opera by artist Robin Rhode for Performa 15, the piece featured a single soprano (the renowned Carole Sidney Louis, her face painted a stark white) projecting above a sizable orchestra conducted by Maestro Arturo Tamayo. It was the first time an opera had ever been staged in Times Square, a location that updates the backdrop of Schönberg’s original piece…Thus, a redemptive thread runs ever-more-prominently through the performance as Louis’s laments swell, her words increasingly staccato blips of memories racing past so frantically that they are inaccessible to the audience…”
Radio Citta Fujiko Eventi – Francesca Clementoni (Gennaio 2013)
“Carole Sidney Louis soprano profondo e colmo di colori ha dato voce alle inquietudini emotive delle due donne protagoniste delle opere di Schoenberg e Wagner trasformandole in immagini e rendendole concrete. In certi momenti potente, in altri flebile e quasi impercettibile ha reso perfettamente l’effetto di equilibrio/non equilibrio tra le due eterne entità.”
“The profound and colorful voice of the soprano Carole Sidney Louis has given us all the disquieting emotions of the two women protagonists of both operas by Schoenberg and Wagner transforming them into images and making them concrete. Using not only a powerful voice but also a very subtile voice , she has given us in a very convincing way the effect of the balance and not balance between this two eternal entities.”
Granada hoy – Gonzalo Roldán Herencia (2012)
“Arturo Tamayo ….. realizó con la OCG un trabajo sublime de interpretación; nuestra orquesta, por su parte, se mostró dúctil y versátil, dado el amplio espectro de técnicas interpretativas de la pieza, que van del susurro a la saturación sonora y ahonda en aspectos tímbricos poco convencionales. Por último, fue decisivo el trabajo vocal de Carole Sidney Louis, una soprano cuyo amplio registro y variedad de técnicas de emisión se pusieron magistralmente al servicio de un texto que requiere múltiples recursos y gran exigencia vocal.”
“Arturo Tamayo ….. achieved with the OCG a sublime work of interpretation, and the orchestra was able to demonstrate a huge flexibility and ductility, given the wide range of interpretative techniques necessary into play in the interpretation of the piece, which ranged from whisper until exorbitant concentrations of sound, deepening unconventional aspects of the sound. Finally, the vocal work from Carole Sidney Louis was decisive for the perfection of the performance . A soprano, whose wide range of voice and excellent technique, served masterfully a text wich requires an extremely perfect and highly demanding vocal technique.”
El Mundo – José A. Cantón
“Con esta obra en cinco partes, el compositor ha querido transmitir en ella las emociones que le produce la caligrafía árabe intentando provocar en el oyente nuevas sensaciones, acentuadas por la expresividad de la voz, que llega en algunos pasajes a la desnaturalización de su carácter. Así fue muy significativa la interpretación de Carole Sidney Louis, convencida, mentalizada y diestra en un canto de enorme dificultad técnica.”
“In this five-part work, the composer wanted to share the emotions of the arabic calligraphy, and tries to arouse new sensations in the listener. These are accentuated by the expressiveness of the voice, which, at certain moments, goes up to the denaturation of his character. The interpretation of Carole Sidney Louis, with conviction ,deep intensity and flexibility from this work of great technical difficulty was excellent.”
Granada hoy – Gonzalo Roldán Herencia
“La soprano Carole Sidney Louis, que tras la pausa, brindó una mórbida y muy en estilo versión de la citada transcripción del segundo Cuarteto schoenbergiano, posee una voz de timbre aterciopelado, de hermoso centro y excelente proyección.”
“The soprano Carole Sidney Louis who , after the intermission, offered us a very morbid and in perfect style performance of this transcription from Schoenberg’s second quartet, has a velvety timbre, with a central register of great beauty and an excellent sound projection.”
El Mundo – José A. Cantón
“Con esta obra en cinco partes, el compositor ha querido transmitir en ella las emociones que le produce la caligrafía árabe intentando provocar en el oyente nuevas sensaciones, acentuadas por la expresividad de la voz, que llega en algunos pasajes a la desnaturalización de su carácter. Así fue muy significativa la interpretación de Carole Sidney Louis, convencida, mentalizada y diestra en un canto de enorme dificultad técnica.”
“Executed with a deep understanding ……. a quality accentuated in the last two movements, Entrückung and Litanei, in which the presence of the voice, did not lose any formal identity in this quartet but gave the possibility for a powerful presence of the soprano in an interpretation in which the beauty from the Poems by Stefan George reached wonderful moments”