Mezzo soloist, Elijah, (Masterworks Chorale of San Mateo)

“Rice’s dark, full sound shone brightly and gave serious weight to her aria 'O rest in the Lord.' ”

San Francisco Classical Voice

 

Emilia, Otello, (Festival Opera)

“[Mezzo-]Soprano Michelle Rice brought vocal and theatrical impact to the role of Emilia....”

San Francisco Chronicle

 

Maria, Gesualdo, (Opera Parallèle)

“Michelle Rice, as his murdered wife Maria, brings a wounded remorse to the role that is positively palpable in every note she sings.”

Stark Insider

 

Emilia, Otello, (West Bay Opera)

“One particular standout was mezzo-soprano Michelle Rice, who brought depth to the role of Desdemona’s attendant, Emilia.

Repeat Performances

 

Emilia, Otello, (West Bay Opera)

“Mezzo-soprano Michelle Rice (Emilia)...sang very well....”

San Francisco Classical Voice

 

Emilia, Otello, (West Bay Opera)

“Michelle Rice sang eloquently as Emilia.”

San Jose Mercury News

 

Gertrude, Roméo et Juliette, (Livermore Valley Opera)

“...Michelle Rice as Gertrude and Nicholas Shelton as Frere Laurent...are two standouts....”

The Independent

 

Gertrude, Roméo et Juliette, (Livermore Valley Opera)

“...Michelle Rice (Gertrude)...sang well and with considerable volume.”

San Francisco Classical Voice

 

Mezzo soloist, Verdi Requiem, (Clarice Smith Performing Arts Center)

“What set this performance apart, aside from the unusual skill and dedication of the young musicians, was the stellar group of soloists imported for the occasion: soprano Sharon Sweet, mezzo-soprano Michelle T. Rice, tenor Benjamin Warschawski and bass James Morris, established artists who have graced opera stages throughout the world, yet found their way to College Park to work with the next generation….Rice stepped in for an indisposed Delores Ziegler at the last minute, singing credibly and fervently, in true Verdian style, as though she'd just stepped out of Aida.”

Washington Post

 

Clara, Clara (world premiere), (Maryland Opera Studio)

“Mezzo-soprano Michelle Rice was convincing as the mature Clara, reflective and confident in both her singing and acting. She excelled at dramatic subtleties and pierced scenes with her presence and clarity of voice – especially compelling during revelatory biographical moments.”

Washington Post

 

Clara, Clara (world premiere), (Maryland Opera Studio)

“Stand out performers in the cast of ten players are mezzo-soprano Michelle Rice as the dying Clara and baritone Bobb Robinson as Friedrich Wieck, Clara’s father.”

Culturevulture.net

 

Clara, Clara (world premiere), (Maryland Opera Studio)

“The voices of mezzo-sopranos Michelle Rice and Lee Anne Myslewski as the older and younger Clara were expressive and clear….”

Washington Times

 

Suzuki, Madama Butterfly, (Annapolis Opera)

“Michelle Rice was excellent as Suzuki, the one character who remains completely devoted to Butterfly, delivering a lovely Flower Duet with Williams in Act 2 and rising to dramatic power in the Act 3 trio….”

Baltimore Sun

 

Suzuki, Madama Butterfly, (Annapolis Opera)

“As Suzuki, Michelle Rice sang firmly and with considerable interpretive fire.”

Baltimore Sun

 

Suzuki, Madama Butterfly, (Annapolis Opera)

“The Suzuki of Michelle Rice…became a strong presence in the two latter acts. In fact, her "Flower Duet" with Ms. Williams near the end of Act II was one of the highlights of the entire production, so beautifully did her dark, lustrous mezzo soprano voice contrast Ms. William's high, more gleaming tone. Ms. Rice's Third Act, as she comes to grips with the very real tragedy that is about to confront her, was both moving and terrifying.”

The Capital

 

Irene, Tamburlaine, (Opera Vivente)

“As Irene, Tamburlaine's eventual queen, Michelle Rice sang in rich, compelling tones.”

Baltimore Sun

 

Mrs. Grose, The Turn of the Screw, (Kennedy Center, Châteauville Foundation)

“The cast was just as admirable, with dramatically charged and vocally superlative performances from tenor Jeffrey Lentz (both the Prologue and the evil Peter Quint) and Michelle Rice (the housekeeper, Mrs. Grose).”

DCist.com

 

Mrs. Grose, The Turn of the Screw, (Kennedy Center, Châteauville Foundation)

“Anne Dreyer as the Governess, Michelle Rice as the housekeeper and Valerie Komar as the ghost of Miss Jessel were all nicely suited to and comfortable in their roles….they were nuanced and sensitive, and they made their characters palpably real and believable.”

Washington Post

 

Mrs. Grose, The Turn of the Screw, (Kennedy Center, Châteauville Foundation)

“Michelle Rice created a sympathetic Mrs. Grose, the housekeeper, and her firm, warm vocalism made every phrase speak.”

Baltimore Sun

 

Woman, Holy Hell (play), (Madcap Players)

“The only dramatic entry in this year's collection features the best acting, perhaps because the characters have the most to work with. Tony Simione and Michelle Rice really sink their teeth into Barbara Lindsay's Holy Hell….”

PotomacStages.com

 

In Recital, Washington Concert Opera

“Michelle Rice enlisted her supple mezzo to reach contralto depths with tones of pure gold.”

Washington Post

 

Mozart by Candlelight, Annapolis Opera

“Mezzo-soprano Michelle Rice offered a lovely, moving "Mi tradi quell'alma ingrata" from Don Giovanni.”

Baltimore Sun

 

Annual Vocal Competition, Annapolis Opera

“The other two mezzo-sopranos on the program continued this same level of performance excellence.... Mezzo Michelle Rice took the prestigious Lindley Incentive Award for her strongly etched portraits of women scorned from Benjamin Britten's "The Rape of Lucretia" and Mozart's "Don Giovanni".”

The Capital

 

Berta, Il Barbiere di Siviglia, (Annapolis Opera)

“...Michelle Rice sang Berta with surprising roundness and clarity.”

Washington Post

 

Berta, Il Barbiere di Siviglia, (Annapolis Opera)

“Mezzo-soprano Michelle Rice gave a nicely vocalized comedic turn as Berta, Doctor Bartolo's long-suffering housemaid. Her little second act aria, "Il vecchiotto cerca moglie," was delightful and, considering how much cleaning up she had to do, the actions on stage certainly explained her disgruntled complaints.”

The Capital

 

Berta, Il Barbiere di Siviglia, (Annapolis Opera)

“Mezzo-soprano Michelle Rice, remembered by Annapolis Opera fans for a portrayal of Suzuki two years ago, delivered another memorable performance as Berta, Dr. Bartolo's housemaid, singing beautifully.”

Baltimore Sun

 

Mrs. Grose, The Turn of the Screw, (Opera Cleveland)

“Michelle Rice sang Mrs. Grose's narrative with great intensity and provided sympathetic support to the Governess.”

Opera News Online

 

Mrs. Grose, The Turn of the Screw, (Opera Cleveland)

“The tale's abiding anguish extends to Mrs. Grose, the housekeeper, whom Michelle Rice essays with a touching blend of empathy and terror.”

The Plain Dealer

 

Mrs. Segstrom, A Little Night Music, (Opera Cleveland)

“The singing was begun, of course, by the quintet of minor characters, who, in Greek-chorus fashion, comment on the action at hand. [These] singers have all performed major roles in Cleveland in the past, pointing to how carefully and wisely Opera Cleveland cast the entire production. Their performance, whether in quintets, trios, or duets, was always a delight.”

Opera News Online