Seven Angels (American Premiere) | August 5
"Valiant work by soprano Julia Wolcott as Angel 1/Waitress and tenor Brian Michael Moore as Angel 4/Prince carried much of the vocal load. All the singers were impressive."
-Harvey Steiman | The Aspen Times | August 7, 2017
Mozart Requiem | Feb 13, 14
"Four terrific Juilliard singers were on hand and lived up to the promise of the music. Our favorite section was the Tuba mirum in which bass Alex Rosen established a firm foundation, joined by Matthew Swensen's unbelievably sweet tenor, then by Kelsey Lauritano's rich mezzo, and finally by Julia Wolcott's clarion soprano. For the final lines, their voices joined in deliciously well balanced harmony...Ms. Wolcott sang only one line in the Lux aeterna but she colored it with eternal light."
-Meche Kroop | Voce di Meche | February 14, 2017
Juilliard Songfest | Dec 8
"Our appreciation for this lovely artist grew as we witnessed her talent for drama and comedy. "Muttertandelei" is the outpouring of maternal pride. No one on earth has such a child! Ms. Wolcott showed a real flair here and, moreover, got to show up a facility for melismatic passages that were beautifully handled."
-Meche Kroop | Voce di Meche | December 9, 2016
A Wedding | July 28 & 30
“The Aspen cast not only inhabited distinct characters- their timing made the jokes crackle...There's no better example than the seduction at the heart of the opera's spinning wheels, an attraction between mother of the bride Tulip (soprano Julia Wolcott in a tour de force performance) and Jules (baritone Michael Aiello), an uncle of the groom by marriage. Tulip waffles in a perfectly pitched series of arias..."
-Harvey Steiman | The Aspen Times | August 2, 2016
Guns and Drums | March 9, 10, 12, & 13
“Love and loss intertwined in more bitter fashion in Samuel Barber’s ‘I hear an army’: the aggressive, galloping accompaniment mimics the thunderous approach of an armed battalion but also suggests the anger of betrayal felt after the end of a relationship, and soprano Julia Wolcott’s repetitions of ‘my love’ were strong and penetrating. “
-Claire Seymour | Seen and Heard International | March 18, 2016
La Calisto | February 17, 19, & 21, 2016
“The young Juilliard singers were mostly terrific. The three principal women were Angela Vallone, fetching as Calisto; Samantha Hankey, essentially doing double duty as Diana and Giove’s fake Diana; and Julia Wolcott, whose Giunone could turn from strong and vindictive to melting and back in an instant.”
-James R. Oestreich | The New York Times | February 18, 2016
“Soprano Julia Wolcott was vengeful one moment and hurt the next as Giove's wife, Giunione (Juno), whipping her voice into a frenzy. (Wolcott also had the best dress in town, thanks to costume designer Austin Scarlett,,,.)”
-Richard Sasanow | Broadway World | February 22, 2016
“Julia Wolcott used her large voice to imposing, regal effect as Juno, hinting at a mesmerizing fusion of an angry Donna Anna with the Queen of the Night. Her appearance — accompanied by a retinue of Furies — inspired the most memorable of Austin Scarlett’s delightful costumes, her towering dress an object of awe in itself.”
-Thomas May | Memeteria | February 22, 2016
“Act II brought on new delights as Giunone, the jealous wife of Giove, appears with her furies bearing her aloft under her huge golden skirt, in a stunning bit of stage business. Soprano Julia Wolcott gave her all to the revenge aria in which she instructs women not to put up with philandering husbands but rather to take revenge.”
-Meche Kroop | vocedimeche.reviews | February 18, 2016
“When the audience returned to our seats for Act Two, we found fiery soprano Julia Wolcott, as a grand and very still Giunone/Juno, already present, garbed in a stage-wide, flowing gold gown, and displaying the highest of dudgeons over the straying Giove’s exploit with Calisto…Jurica, Lammer, and Rapaport also played the furies attending Wolcott’s Giunone, no slouch of a fury herself.”
-Bruce-Michael Gelbert | [Q] on Stage | March 2016
“Julia Wolcott’s Giunone unfurled an imposing, not quite yet controlled dramatic soprano; she may follow Christine Goerke — Glimmerglass’ splendid 1996 Giunone — in becoming a mettlesome Elektra. Even before the first half of this triumphant staging had ended, I was wishing I could see it again.”
-David Shengold | Gay City News | March 3, 2016