Shannon Mercer, soprano Shannon Mercer, soprano
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Handel's La Resurrezione with Festival Vancouver and Vancouver Early Music
"Richer and darker, Shannon Mercer's voice was perfectly suited to portraying Mary Magdalene." (Georgia Straight, 16 August 2007)
"Mercer and Balzer were all you could have hoped for, singing superbly." (Vancouver Sun, 12 August 2007)
Israël en Égypte with Les Violons du Roy under Bernard Labadie in Québec City and Montréal
"Des six solistes, tous à la hauteur, je signale le soprano radieux de Shannon Mercer."
"Of the six soloists, all excellent, I single out the radiant voice of soprano Shannon Mercer."
(La Presse, 28 mars 2007)
"Du travail des solistes, généralement excellent, je retiens surtout l'intervention finale de la soprano Shannon Mercer, elle dont la voix, a cappella, peut remplir l'espace aussi généreusement que tous les autres chanteurs réunis." "Of the soloists, generally excellent, I remember most the solo finale by Shannon Mercer. Her voice, a cappella, can fill the hall as much as all the other singers together." (Le Soleil, 24 mars 2007)
Making her French debut in the title role of Sémélé at l'opéra de Montpellier
“Shannon Mercer interpreted Sémélé with passion.” (Ópera Actual, March 2007)
"The beautiful Shannon Mercer regally intoned the gloriously ornamented speeches of Sémélé." (Seen and Heard, 12 February 2007)
"Canadian Shannon Mercer performs with much freshness and aplomb." (Le Journal des Spectacles, 11 February 2007)
"As the new Sémélé, Canadian Shannon Mercer posseses, in addition to a pure voice, a clarity of diction which makes her interpretation even better." (Le Figaro, 5 February 2007)
Messiah performances across Canada
"The quartet of soloists was particularly fine this year. Shannon Mercer, a Canadian soprano of real promise, sang the entire part with a marked sense of musical poise and brilliance in the rapid passages." (Calgary Herald, 8 December 2006)

"Of the four soloists, soprano Shannon Mercer and alto Matthew White, both Ottawa natives, best complemented the SMAM's delicate period timbre, with translucent voices and weightless ornamentation." (Montreal Gazette, 4 December 2006)

As Despina in Cosi fan tutte with the Canadian Opera Company in the opening production of the new Four Seasons Opera House in Toronto
"Shannon Mercer’s sparkling voice and pert acting [were ideal] for Despina.” (Opera, February 2007)
"Soprano Shannon Mercer kept her bearings beautifully as the maid Despina, delivering a wickedly pert performance of Una donna a quindici anni." (Globe and Mail, 19 October 2006)
"Shannon Mercer delivered an ebullient performance as Despina, in her crisp, bright soprano." (Classical Source, October 2006)
"Mercer is a sparkly performer well-suited for Despina." (ConcertoNet, 2 November 2006)


Nannetta in Verdi's Falstaff with Opera Lyra Ottawa
"Shannon Mercer showed a gorgeous high vocal end in her third-act lover's duet." (The Ottawa Sun, 12 April 2006)
"[Shannon Mercer's] singing was particularly beautiful and her character bears a bit of feistiness better than Fenton's." (Ottawa Citizen, 10 April 2006)
In recital with Music Toronto at the Jane Mallett Theatre
"Shannon Mercer proved last night that nothing beats a strong, flexible voice, honest musicianship and a winning smile on a concert stage. The highlight was "Elfenlied" (Elf Song), which tells of a late-night adventure in the woods. It's the most difficult type of music, shifting moods and requiring the singer to deliver a dramatic narration along with a melody line. Mercer did it all with ease." (Toronto Star, 27 January 2006)
At Lincoln Centre with Barbara Bonney
"W.A. Mozart's lovely "Abendempfindung" [sung by Shannon Mercer] was a highlight..." (The New York Times, 15 November 2005)
"Canadian soprano Shannon Mercer, the find of the evening, came off best. It's not hard to see why Bonney picked her -- the light but pointed lyric voice, quick and wide-ranging expressiveness, musical intelligence, and stage presence surely reminded her of herself. Mercer's account of the much-sung "Abendempfindung" was as touching and well-shaped as any I've heard." (An Unamplified Voice, 12 November 2005)


As Grace in the Queen of Puddings's The Midnight Court
"Shannon Mercer's Grace can make a point with the curve of her mouth as well as the impressive use of a coloratura voice." (Jon Kaplan, Now Magazine, 16-22 June 2005 Vol. 24 no. 42)
As Lucy in Menotti's The Telephone with Opera Lyra Ottawa
"Mercer also sang the role of Lucy in the Telephone singing with agility and fine, crisp tone in the high notes yet lacking nothing in her lower register." (Earl Arthur Lowe, Opera Canada Magazine, Spring 2005, Vol. XLVI)
As Altisidore in Boismortier's Don Quichotte with La Nouvele Sinfonie
"The finest singing came from Shannon Mercer as Altisidore. Mercer's sparkling recitatives and effortless runs were a constant delight." (Don Quixotte chez la Duchesse - Jean Bodin de Boismortier) (Christopher Hoile, Opera Canada Magazine, Spring 2005, Vol. XLVI)


As Oberto in Handel's Alcina with Les Violon du Roy
"Le soprano Shannon Mercer donne au jeune Oberto une voix jeune, agile, légère et, parfois espiègle, dont le timbre fin se combine à une exécution ferme et remplie d'adrénaline." (Le Soleil, 11 mai 2004)
As Michal from Handel's Saul with the Ottawa Choral Society
"Soprano Shannon Mercer, singing the role of Michal (from Handel's Saul) with clarity, poise and vocal beauty, was the most consistently satisfying." (Ottawa Citizen, 1 April 2004)
As Nadina in Oscar Straus's The Chocolate Soldier with the Toronto Operetta Theatre
"Shannon Mercer sang it (My Hero) quite handsomely the first time around and made an attractive Nadina throughout her encounters with the (Swiss) Chocolate Soldier himself." (Toronto Star, 29 December 2003)
"It would be hard to imagine a more ideal Nadina than Shannon Mercer. With her pure, shining soprano she sings "My Hero" with just the right combination of fervor and innocence, and expertly details Nadina's inner conflict between unfounded adoration for her idol Alexius and her growing attraction for the down to earth Bummerli." (Stage Door, 27 December 2003)
As Rosina in Opera Ontario's Il barbiere di Siviglia
"Rosina was played by Shannon Mercer, her beautiful and wide-ranging soprano dazzling in Una voca poco fa, the coloratura passages soaring through the intricacies of turns and decoration with remarkable ease and control. She, too, has a flair for comedy, playing the coquette one minute, the wide-eyed innocent in another, and making her presence felt in no uncertain terms in yet another. What a delight she is to hear." (Kitchener-Waterloo, 20 October 2003)
"Shannon Mercer has emerged as one of Canada's most promising young sopranos and although most companies these days appear to be reverting to Rossini's original mezzo-soprano Rosina…there was something very convincing about hearing Mercer's bright tones coming from the heroine's coquettish mouth." (Toronto Star, 7 October 2003)
“...presque irréprochable. Et on peut en dire autant de la soprano Shannon Mercer, aussi belle qu’excellente par son timbre clair et sa fluidité dans les mélismes.” (La Presse, 25 novembre 2003)
“Although Rossini intended the part to be sung by a mezzo-soprano, Mercer is ideal for the role. The Ottawa native’s bright, clear voice embodies Rosina, who is at once innocent, flirtatious and full of guile.” (Cancette, October, 2003)


“Shannon Mercer’s winning portrayal as Susanna displayed as many histrionics resources as vocal; her limpid soprano remained perfectly focused under pressure, and her bewildered look in the Act Three Sextet (“Suo madre/ suo padre/ etc.”) was a gem.” (Classical Voice, 10 August 2003)
“As Susanna, betrothed to the rakish Figaro but desired by the Count, soprano Shannon Mercer was a singing and acting miracle.” (Santa Barbara Voice, 9 August 2003)
L'italiana in Algeri with the Canadian Opera Company
"…the show was all but stolen by Shannon Mercer, in the role of Mustafa's wife, the wronged Elvira. She played Oscar, the King's servant, in the COC's recent production of Verdi's "A Masked Ball" and commanded the audience's attention then, too, with her rich soprano and sympathetic stage presence. She has a voice of strength and beauty." (Buffalo News, 7 April 2003)
"Soprano Shannon Mercer, an alumna of the COC's Ensemble Studio, brightly shines as King Mustafa's discarded wife, Elvira. Her histrionics, brilliant timing and musical leadership - especially in the finales - capture the audience's rapt attention." (, 3 April 2003)
In duo recital with Katherine Kohrer in San Francisco
"You don't often hear singers meshing as beautifully as soprano Shannon Mercer and mezzo-soprano Katherine Rohrer did Sunday night during their joint Schwabacher Debut Recital. In duets by Mendelssohn, Britten and Rossini, the two women displayed an almost uncanny knack for blending their voices in tune, supporting one another's phrases and modulating each other's delivery to great effect. The four Mendelssohn duets…were the program's most luxuriant delights, where the two singers' gift for lushly intertwined textures came most ravishingly to the fore." (San Francisco Chronicle, 19 February 2003)
In the Canadian Opera Company's Un Ballo in Maschera
"The Canadian light soprano Shannon Mercer was witty, crisp and delightful in the supporting role of the king's page, Oscar." (Globe and Mail, 27 January 2003)
"The bright spot of the evening was Shannon Mercer's radiant performance of the young page Oscar. Because Mercer was the only compelling actor of the stage - she was also in splendid voice - this sprite-like character of ambiguous gender became the fulcrum of the opera...Mercer was also the only one who sang with her whole body; as she knelt over the dying King in the final scene, hers was the only believable, and touching grief." (National Post, 27 January 2003)
"Shannon Mercer gives a lyrically engaging performance. Her energetic personality and youthful charm in her portrayal of Oscar, the Count's page, makes her a prominent standout. Ms. Mercer executes two very famous arias with impeccable panache and vocal beauty. Her presence on stage grabs the viewer's attention and brings the story to life." (, 29 January 2003)


"The sad girl (Shannon Mercer playing the part with loveliness and grace) opened her mouth and sorrow billowed out. You had to feel for her." (Buffalo News, 14 April 2002)
"It was the soprano who secured our interest in two declamatory works by Monteverdi, transforming the conventional complaints of a woman betrayed into statements of immediacy and expressive force...and a motet by Antoine de Boésset. The latter proved to be a showcase for Mercer's technical qualifications." (Montreal Gazette, 25 February 2002)
"No typical baroque squeaker, [Mercer] had a full, radiant voice and a natural way of using it. Nor did her virtues as a performer end with her sound. Mercer conveyed the plight of the abandoned queen almost as potently with her stageworthy face as with her singing. Yet there was no straining for histrionic effect. Dido's great farewell aria, Thy Hand, Belinda, was dignified as well as moving...Mercer made the show." (Montreal Gazette, 25 February 2002)
"Dans le rôle principal, celui de Didon, Shannon Mercer constitua une petite révélation. Jeune, grande et belle, avec une voix impeccable, un port très noble et beaucoup de naturel, la jeune chanteuse d'Ottawa a tout pour une importante carrière." (La Presse, 25 fevrier 2002)
"Shannon Mercer is a sweet-voiced pleasure as Pomey's son Sesto." (Now Magazine, 13 December 2001)
"Shannon Mercer brought charisma and vocal agility to the role of Sesto, son of the murdered general Pompey." (National Post, 7 December 2001)
"Soprano Shannon Mercer has a lovely rich sound and power to spare." (Classical 96.3, 4 December 2001)
“Shannon Mercer (Sesto), a woman playing a boy who then has to play a woman, has a bright, clear soprano and fine acting to bring off this complicated role with panache.” (Stagedoor, December 2001)


“Shannon Mercer made every word tell, and sang in the tonal quality of a blushing rose.” (Boston Globe, 17 August 2001)
“Shannon Mercer has some affecting moments as her questing Rapunzel, trying to win her place in the world, and showed some nice comic timing as Little Red on her way to granny’s. Mercer’s soprano is direct, clear and unaffected.” (Globe and Mail, 15 May 2001)
“...soprano Shannon Mercer gave a glowing, youthful interpretation of the same composer’s (Strauss) Morgen.” (National Post, 19 February 2001)


“Shannon Mercer was particularly outstanding with the soprano solos. There was breathtaking beauty to the Benedictus as she sang it, and her contribution to the various vocal ensembles was always solid and attractive.” (Ottawa Citizen, 18 October 1999)
“Shannon Mercer’s incarnation of Cleopatra was stylistically and idiomatically irreproachable. Her performance was of rare musical distinction. With a voice of crystalline purity and warmth of timbre, she offered a seductive and alluring portrayal. If V’Adoro Pupille was of a rare sensuality then the sublime Piangero was achingly drawn.” (Montreal Gazette, 30 November 1997)



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Shannon Mercer

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