Press

“... ‘Life Goes’ revealed a subtle, kaleidoscopic range of instrumental color, and soprano Julieanne Klein's intense, dark-hued performance brought out the drama under the music's shimmering surface.”
– Joe Banno, Washington Post, March 13, 2009

“There were many excellent performances [including] soprano Julieanne Klein's flirtatiously manic scena in Sequenza III.”
– Charles T. Downey, Washington Post, March 5, 2009

“Sequenza III [is] a tour de force for female voice that soprano Julieanne Klein took full advantage of, creating a bit of mini-theater in the process.”
– Tim Smith, Baltimore Sun, March 5, 2009

“Among the standouts... soprano Julieanne Klein's fearless, riveting charge through Sequenza III, which exploits nearly every possible vocal utterance.”
– Tim Smith, Baltimore Sun, March 6, 2009 (weekly review roundup)

“Non seulement Julieanne Klein traverse-t-elle sans problèmes cette musique infiniment plus difficile à chanter... elle rend avec une égale intensité la rêverie, la tristesse et l'effroi qui s'y mêlent pendant 30 minutes.”
Not only did Julieanne Klein go through this infinitely difficult music to sing without any problem... she projected with equal intensity the daydreams, the sadness and the fear throughout the entire 30 minute work.
– Claude Gingras, La Presse, June 9, 2008 (Review of Schoenbergs ‘Erwartung’ with Ensemble Prima)

“Ensemble Prima defines contemporary music broadly, judging by its concert Saturday… Next came George Crumb's Night of the Four Moons (1969), a delicate experimental piece... based on poetry by Lorca. Soprano Julieanne Klein, barefoot and wearing a headband, lent warmth to all the weirdness.”
– The Gazette (Montreal), October 15, 2007

“Soliste des trois oeuvres vocales, Julieanne Klein possède une bonne voix de soprano…Après l'entracte, dans Pierrot lunaire, Mme Klein allait révéler une assez forte présence scénique et déployer d'étonnantes couleurs vocales, avec tour à tour de la tendresse, de la moquerie ou de la violence et, partout, une bonne maîtrise de cette technique conjuguant parlé et chanté appelée Sprechgesang.”
Soloist of three vocal works, Julieanne Klein has a good soprano voice... After the intermission, in Pierrot lunaire, Ms. Klein revealed a rather strong stage presence and displayed astonishing vocal colors, in turn showing tenderness, mockery and violence, and throughout the work a good control of the Sprechgesang technique, which combines speaking and singing.
– Claude Gingras, La Presse, June 17, 2007

“… [the Ulysses Ensemble] brought out the beautifully variegated colours of the [Pierrot] score, and the soprano Julieanne Klein was perfect - intense, theatrical and funny. The ripeness of some of the verse seemed entirely knowing, and the whole thing was pulled off with a real bite.”
– http://forceofcircumstance.blogspot.com/2007/04/for-kurt.html; April 12, 2007

“Les deux chanteurs, Michiel Schrey et Julieanne Klein, apportèrent à leurs très longs et très difficiles monologues la plus exactitude.”
The two singers, Michiel Schrey and Julieanne Klein, brought tremendous precision to their very long and very difficult monologues.
– Claude Gingras, La Presse, June 22, 2006

“The ‘operatorio’ Orpheus on Sappho’s Shore … receives a polished reading from Julieanne Klein, Michiel Schrey and the Ensemble Contemporain de Montréal.”
– Vivien Schweitzer, The New York Times, October 8, 2006

“Elle demande de chanter, de parler, de crier même, et Julieanne Klein accomplit tout cela avec beaucoup d'aplomb.”
The piece required [the singer] to sing, speak, and even shout, and Julieanne Klein achieved all this with much grace.
– Claude Gingras, La Presse, October 24, 2004

“Soprano Julieanne Klein was the expressive guest singer.”
– Los Angeles Times, May 25, 2002

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