Quinn Middleman

mezzo-soprano

Press

“Also covering the lead rôles, the seven choristers—tenor Jonathan Weyant, soprano Lani Stait, basses Zacharias Niedzwiecki and Samuel Weiser, mezzo-sopranos Kira Dills-DeSurra and Quinn Middleman, and tenor Patrick Dean Shelton—sang strongly and often very beautifully. In an ensemble of this size, the quality of each individual voice was apparent, and the young singers revealed themselves to be first-rate artists in the making.” ~Joseph Newsome, Voix des Arts, November 2016

“A capable group of TMC Vocal Fellows — Sarah Tuttle, Adriana Velinova, Quinn Middleman, Joel Balzun, and Keith Colclough — divided up the songs and delivered them with skill and directness. Dawn Upshaw and Sanford Sylvan, both TMC faculty members, performed alongside their students, taking one song apiece and demonstrating what it means to be a master of this art.” ~Jeremy Eichler, Boston Globe, August 2016

Praise for the premiere of Harold Meltzer’s Variations on a Summer Day:

“The Fromm Foundation commission was Variations on a Summer Day, set to Wallace Stevens’ poetry by the Brooklyn lawyer Harold Meltzer, who, like Ives and Borodin, once held a day job…  Quinn Middleman, from Washington state, was the compelling mezzo-soprano.” ~Leslie Kandell, Classical Voice North America, July 2016

“Mezzo-soprano Quinn Middleman made a similarly persuasive case for Harold Meltzer’s “Variations on a Summer Day,” a gleaming setting of texts from the Wallace Stevens poem of the same name.” ~Jeremy Eichler, Boston Globe, July 2016

“Mezzo-soprano Quinn Middleman was extraordinarily well-suited to this project…her voice was commanding and direct, and her personality sly and even a little seductive. Stevens’ more archaic lines were occasionally enlivened with a sideways glance or half-smile, as if she were pleased by its cleverness.” ~Brian Schuth, The Boston Musical Intelligencer, July 2016

“The vocal part, here performed by the estimable Quinn Middleman, takes up far more vertical real estate, casting down into a nearly contralto register and up to high soprano notes.” ~Christian Carey, Sequenza 21, July 2016

“Mezzo-soprano,[sic] Quinn Middleman’s loving treatments of Lili Boulanger’s late-romantic compositions brought out the delicacy and insight of Francis Jammes’s poetry…The last song in the program, At the foot of my bed, sung by mezzo-soprano, Quinn Middleman, became luminous. Notwithstanding the dirge-like setting of its beginning, supported by low, ponderous chords, the clouds parted when Middleman sounded Jammes’s verse, “Our Lady, standing before a background of gold, Who makes me think of a thousand catches of the sea, Which are sold on the quais, where not a breath of air stirs the tents which heavily sleep.” ~Eli Newberger, The Berkshire Edge, July 2016

“The shorter, austerely scored cantata BWV 163 (Nur jedem das Seine) featured two of the evening’s really outstanding vocal interprets, soprano Bahareh Poureslami and mezzo Quinn Middleman, singing here as a duet.” ~Edward Sava-Segal, bachtrack.com, June 2016

“The song was written for veteran new-music soprano and longtime TMC teacher Lucy Shelton, who was joined by two mezzo-sopranos, vocal fellows Paulina Villareal and Quinn Middleman, who echoed her own singing—everything amplified in turn by the haunting harmonies of strings, winds, and harp.” ~Lloyd Schwartz, The Berkshire Review, July 2015

“Quinn Middleman, as Sister Helen, is simply magnificent. She acts with a fire whose intensity is unmatched in the show. Her doubt and confusion, coupled with her steely resolve to fulfill her duty, give her portrayal of Prejean a 3-dimensional quality that allows the audience to join her on her journey to forgiveness. Without this, the show would falter. Throughout the show she reaches out to De Roucher emotionally many times, but never physically. Because of this her most powerful moment comes in the final scene, after Joe’s death, where she finally gathers the strength to touch the condemned man, singing the same a capella spiritual that began the show as the curtain falls.”   ~Michael J. Davis, March 2015

Praise for Heggie’s The Deepest Desire with Carol Wincenc:

“Carol Wincenc, one of America’s foremost flutists, performed this accompanied by the composer, Heggie, and with mezzo Quinn Middleman, and it was simply extraordinary.”  ~Adam Broner, Repeat Performances, June 2013

“Her body filled with energy, her face and arms became remarkably expressive, and her voice rang out with beauty. Appropriate sounds of ecstasy and excitement, a delightful mock teacher-as-preacher voice when Sister Helen lectured children to be careful with fire, the sly wink, the stage presence to move forward and back with ease as a song’s energy built and ebbed, and a conclusion marked by all the simplicity, purity, and, above all, humility that one would expect from Sister Helen — all these qualities and abilities capped her remarkable performance…Middleman gave strong indication that, as her voice continues to develop, we will be fortunate to hear more of her in the years ahead.” ~Jason Victor Serinus, San Francisco Classical Review, January 2013