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REVIEWS

"Gabrielle... has a beautiful mezzo-soprano voice, with considerable experience in the classical field, but as she demonstrated in I Don't Know How to Love Him, she is not afraid to use her chest voice to add colour.”

The Port Hope Evening Guide, Alwyn Horscroft, August 2006

 

"…Gabrielle Prata as Lalume, wife of wives to the wicked Wazir. Not that she needed another chance to wow the audience, having already impressed with her first act number “Not Since Nineveh” and joining Terry Hodges to burn up the stage with “Rhadlakum” in the second half. She also brings a sardonic wit to the role as she casually cuts her cuckolded husband down to size.”

Front Row Centre, Mark Andrew Lawrence, April 2006

 

"The most impressive was mezzo-soprano Gabrielle Prata (Tessa), who has been absent from Toronto stages for far too long. Her rich, plummy tones are divine, and she brought authority and richness to the role."

Opera Canada, Paula Citron, December 2005

 

"The sheer quality of the voices is amazing... all of the main roles are sung and acted excellently.  Madame Whicher, played by Gabrielle Prata, is delightfully manipulative and scheming as the villainous head of Tower Studios."

The Community Press, Edward Tubb, June 10, 2005

 

“Gabrielle Prata as Madam Whicher had a fabulous mezzo voice, and uses the rhythm in her ‘Up, Up, Up’ theme song to great effect, together with the sombre tones as she seems to hypnotise Rapunzel.  The ‘real’ sound man should beware of the power of Ms Prata’s voice.”

Cobourg Star, Alwyn Horscroft

 

“This was an energetic, steamy rendition of “Carmen.” Mezzo-soprano Gabrielle Prata, who has sung with the Canadian Opera Company, Opera Pacific and New York’s National Grand Opera, brought to the title role a rare combination of sensuality and athleticism as well as a rich and feisty voice.

So sexy was this Carmen, she managed to seduce the reluctant Don Jose with her hands literally tied behind her back. After being arrested for knifing a woman and tethered by a length of rope to a hitching post,  Carmen slithered on her back along a bench next to the post. Then she rose to a sitting position and stepped up to Don Jose. When he spurned her advances by turning away from her, she rubbed her chest along the backs of his legs and up to his shoulders. During all these difficult movements, she was singing.

Throughout the opera, Carmen was grabbed and thrown around by Don Jose and other men. In the tavern scene in the second act, she did a backbend on top of the bar from a kneeling position, then rose back up, without using her hands, and without so much as a hint of effort, sang a response to Don Jose.

Prata kept up this physically punishing style of acting to the very end, when she rolled down a flight of steps after being stabbed by Don Jose.”

The Boston Sunday Globe

 

“But Bizet’s Carmen lives a life of it’s own—especially in the kind of vibrantly theatrical production Opera North has given it. It’s literary pre-history becomes irrelevant when the gypsy is sung and acted as steamily, as powerfully, as she was by Canadian mezzo Gabrielle Prata on Thursday evening.”

Valley News

 

“The vibrant Canadian mezzo-soprano, Gabrielle Prata, breathes passion into the gypsy Carmen whose brief love affairs with the dragoon corporal Don Jose and the bullfighter, Escamillo set the theme of Bizet’s opera. Prata is tempestuous, seductive, scornful, her singing, dancing and acting the perfect musical style for the role.”

Newport, Argus Champion

 

“As Carmen, Gabrielle Prata demonstrated the right spit-fire temperament, dark beauty and a mezzo–soprano with a bright, glinting timbre.”

The Boston Herald

 

"But it was Gabrielle Prata who, necessarily and justifiably, dominated the production. Her Carmen was the kind of woman who would make a man's teeth sweat. She made the wanton cigarette maker a fascinating amalgam of grand dame, girl next door, and vicious, man-eating animal. From the first notes of the Habanera, Ms. Prata had us in her thrall. She was captivating, vivid, and various; a mistress of mocking inflections that were sometimes alight with mischief and sometimes flicked out like a lash."

The Southampton Press, Fred Volkmer

 

"Gabrielle Prata (Amahl's mother) has a beautiful voice, strong, expressive, sensitively controlled; her "Do they know?" and "Yes, I know a child" provided emotional high points, pointing the way to the climactic "He walks!"

Opera Canada, Peter Dyson

 

“The strongest interpretation of the evening came from Gabrielle Prata as the Muse/Nicklausse. This was a highly intelligent performance and a musical delight.”

Fredricton Gleaner, Vivienne Anderson

 

"Young Canadian mezzo Gabrielle Prata has all the right stuff for Rosina—lyricism, thrilling coloratura, perfectly placed bel canto voice and a fiery demeanor.”

Opera News, Allan Glasser

 

Three opera arias on Friday’s program revealed two remarkable voices, Canadian mezzo soprano Gabrielle Prata….Prata commands a voice which has real substance in the low register and yet capable of the fleet coloratura of Rosina’s “Una voce poco fa” and Cinderella’s “Non piu mesta.”

The Spokesman-Review

 

“Contralto Gabrielle Prata almost had too good a voice. It is large, impossibly gorgeous, creamy and round in tone…” 

The Hamilton Spectator

 

"...mezzo-soprano Gabrielle Prata (in the trouser role of Ramiro) provided the outstanding singing and acting of the evening."

The Toronto Star, William Litler

 

"Mezzo Gabrielle Prata, as Penelope, was superbly declamatory and could darken her tone for compelling projection of grief."

Musical America, Herman Trotter

 

"Mezzo soprano Gabrielle Prata was a standout as Penelope, majestic and yet tremendously moving, lamenting her loneliness."

The Canadian Jewish News

 

"A fine contrast was provided by mezzo Gabrielle Prata in the role of Butterfly's servant Suzuki, not only with her throaty and dark voice but also by her strong and dramatically insistent efforts to wake Butterfly to the hopelessness of her position."

The Buffalo News

 

"Gabrielle Prata proved an especially successful Penelope, approaching true nobility of spirit in the great passages of lamentation and setting a standard of dignity in stage deportment."

The Toronto Star, William Litler

 

"The performance best displayed the marvels of Verdi's musical texture: sorrowful bassoons behind Prata's wondrous mezzo voice... especially notable was her tender Liber Scriptus."

The StarPhoenix

 

"Gabrielle Prata's dark-toned Suzuki was a vivid presence, her own anguish as real as her inability to change anything."

The Globe and Mail, Urjo Kareda

 

“Gabrielle Prata’s Maddalena was convincingly sexy and well sung.”

The Ottawa Citizen

 
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