Austin Opera- AIDA
Karen Slack's Aida left alone on the broad Dell Hall stage, standing alone in a tight pool of light while looming behind her is that mammoth head sunk in deep shadow…. Slack sings, her voice wringing the ache and sorrow out of Verdi's emotive music, her Aida becomes a tiny vessel of flesh and blood, lost in a wide, wide world.
The principal voices are effective and moving. Karen Slack as Aïda soars at high volume. Her subtle performance is outstanding. She carries herself in a way that feels always considered, never canned or forced.
Sydney Symphony- Porgy and Bess (Australia)
Karen Slack is also sensational as Serena, whose husband is killed by Crown, bringing the house down with her gleaming, stratospheric soprano in a heart-rending My man’s gone now: one of the standout moments of the night.
Limelight magazine- Jo Litsom
Opera Parallèle- Champion
But the opera’s star is undoubtedly Karen Slack, who plays Emile’s mother. She gets two stow-shoppers: a jazzy piece with a catchy tune and punishingly wide intervals, and a soaring sad aria about her past. She nails both styles, displaying extraordinary vocal agility and a powerful instrument with a wide range of colors.
Ilana Walder-Biesantz- Bachtrack
Fine support is given by soprano Karen Slack as Emile’s mother who abandoned him in his youth and lived off him in his glory days. Her blues aria, sung a cappella with only Marcus Shelby’s jazz bass line in the background, was a show stopper
Culture Vulture- Suzanne Weiss
Karen Slack as Emile's hoydenish mother Emelda also gets plenty of solo turns, and her powerful aria of self-explanation and sorrow, with only bass accompaniment, is a stunner in the second half.
Phillip Campbell- Bay Area Reporter
Arizona Opera- Falstaff
As Alice, Karen Slack sang with poise and radiant sound. Slack’s amply blooming high notes were especially brilliant. She and Heather Phillips, who sang Nanetta, stole the show as far as the women were concerned….. These two women produced some of the sweetest notes and most finely shaped phrases of the evening. -
ARIZONA OPERA -IL TROVATORE
"Karen Slack who sang the role of Leonora, the much sought after heroine, has a voluptuous soprano voice with silvery top notes and a formidable chest register. She seemed to throw care to the winds as she successfully navigated her music's many pitfalls. The result was an exciting performance of this difficult role."
OPERA TODAY- Maria Nocklin
ARIZONA OPERA -TOSCA
"This matinee performance featured Karen Slack who made both her company and role debut in the title role. She not only has a easily reached high C, she also has a variety of luscious vocal colors in her middle and lower registers. She held nothing back in the acting part either. Her rendition of 'Vissi d'arte' was a beautiful oasis of melody in an otherwise intense portrayal."
MUSIC AND VISION-Maria Nocklin
"Karen Slack's deeply felt AIDA seemed modeled on Leontyne Price's glorious assumption- dramatic in tone, generous in volume, flexible in tempo and luminous on top. Slack paid great attention to the meanings of words, accenting them with am emotional commitment that made her character's passions believable."
OPERA NEWS-Jason Victor Serinus
'Soprano Karen Slack was glorious in the role of AIDA. Immersing herself in the character she conveyed the full range of emotions from startling joy when she finds out that her father Amonasro (that moment almost made me leap out of my seat) to heartbreaking sorrow under star-lit pyramids. Just as impressive as her full bodied tone were her delicate diminuendi, maintaining clear pitch and pleasant vibrato as sighs fade to silence"
EXAMINER.COM- Beer Moalem
"A lyric-spinto soprano with beautiful tone and great high notes she can spin back into a gorgeous piano, the kind of voice that can sing anything beautifully engaging the heart brilliantly. We have found this in Karen Slack. And on top of that has the authentic Strauss legato. No live performance of Strauss songs in my memory was so completely glorious. She knew exactly how to place each note in the phrase, how to keep her voice under control, when to hold back and when to soar. "Befreit" was fabulous."
San Francisco Classical Voice
"Equally memorable is American Karen Slack's Desdemona. She sings with a beautiful lyrical tact that reminds one of the young Leontyne Price. Her Willow Song could fill all but a heart of stone with compassion."
Melbourne Symphony Australia
"The fact was not lost on soprano Karen Slack, who turned her Violetta into a showpiece for her powerful and emotional soprano. Her tour de force performance was the high point of this solid and tasteful production. Throughout Slack's soprano grandly filled the hall. Her singing of Ah, fors'e lui... Sempre libera in Act 1 showed range as a singer and draw as an actor. She navigated the tricky coloratura with accuracy and did so powerfully."
Sacramento Bee- Edward Ortiz
"The quartet of soloist was impressive, but soprano Karen Slack and mezzo- soprano Guang Yang stole the show. Their clear warm voices were angelic in duets, and Slack brought tender urgency to her final prayer."
"...some of the most stunning singing came in duets with mezzo-soprano Guang Yang: stylish, rich in intonation, soaring loveliness and ideal vibrato. Soprano Karen Slack not only has the range for the Requiem, but she has the rich, weighty timbre. She has, as the program notes said, "a voice of extraordinary beauty."
Wisconsin State Journal
"However the most outstanding solo performance was Slack's "Libera me", the final movement of the operatic Mass. Her strength and emotive power sent chills through the audience."
"Soprano Karen Slack possess the ideal lyrical musicality for a Strauss role. The voice is crystal clear, yet with that smooth nuance of the sort heard from a Schwarzkopf or Te Kanawa. Her performance has major career stamped all over it."
San Francisco Classical Voice