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"She has an extraordinary voice, a very musical voice.  It effortlessly carries over an orchestra."
THE HERALD MAIL
HAGERSTOWN, MD

"It is in no way an overstatement for me to say that a measure of song from Nancy's voice is a
moment to be touched in heart, mind, and spirit by Heaven's Grace .  To hear her is to know that  in
the moment, in spite of outer circumstance or challenge, "All is well, all manner of thing is well!"
LARRY HALL, RECTOR
EPISCOPAL CHURCH OF ST. JOHN THE DIVINE
HOUSTON, TEXAS

"The start was the best ever, and not just because soprano Nancy Curtis sang 'The Star-Spangled
Banner' so beautifully that she brought me to tears."
THE HOUSTON CHRONICLE

"Soprano Nancy Curtis, with her ample power and thrilling top, soared easily
over the orchestra."
THE SAN ANTONIO EXPRESS-NEWS

"I will never forget my first collaboration with Nancy Curtis.  She was singing the demanding soprano
solos in the Vaughan Williams Symphony No. 1 (A Sea Symphony) which I was conducting in
Houston.   In our first orchestral rehearsal, it was a thrill to experience Nancy's gorgeous sound
soaring above the orchestra and chorus.   She inspired us all greatly and embodied the spirit of the
work so fully.  Since that time, I have come to know the incredibly broad range of her expressive
abilities.   Nancy is an extraordinary singer with a luminous presence who always performs with
tremendous generosity and warmth.   She communicates powerfully on stage and is a most special
talent.  I really love her singing."
CRAIG HELLA JOHNSON
ARTSTIC DIRECTOR, CONSPIRARE

"Nancy created the role “Soprano” in our Camille Claudel production for our debut in May of 2012, also
considered the aged Camille.  When storyboarding the production I wanted to show a Camille
expressing her story through the Purcell’s aria, Dido’s Lament, from Dido and Aeneas.  I
knew I
needed a Soprano who could deliver the aria with technique, passion, and poignant phrasing.  I found
just this jewel in Nancy and I’m so honored to have her as a vital part of this production.  When we
rehearse this scene in the studio we are mesmerized by Nancy’s divine consistency and treated to the
goosebumps she undoubtedly provides us each and every time.  I’m so pleased she will be joining us
once again for our Joyce Theater debut."
DOMINIC WALSH
THE DOMINIC WALSH DANCE COMPANY

"Curtis was the afternoon's biggest hit."
THE ARKANSAS DEMOCRAT GAZETTE

"Nancy Curtis and Vaclovas Daunoras were standouts. ... and Curtis' seemingly disembodied voice
was one of the keenest delights in one of the opera's best realized scenes, the ceremony at the
Temple of Vulcan."
THE TULSA WORLD

"Soprano Nancy Curtis brought to Samuel Barber's Knoxville: Summer of 1915 and to the solo in the
fourth movement of Mahler's Fourth Symphony a versatile instrument, with tone that was both bright
and mellow, a consistent sound across all registers and well-controlled vocal transitions.  Portraying
childlike characters in both of her appearances, Curtis never resorted to caricature, but made her voice
and her face fresh and vulnerable."
THE AUSTIN AMERICAN-STATESMAN













Ms. Curtis singing the National Anthem for the Houston Texans

"There are truly no words to describe the excellence and outstanding character of the music for
Annie's wedding.  So many friends have commented on Nancy's singing, and one Jewish friend said
she nearly dropped to her knees and converted!"
ALLYSON  W., MOTHER OF A BRIDE

"I was very fortunate to find Nancy through a recommendation of one of her former students.  
Lessons with Nancy have not only prepared me for various auditions and performances, but she has
truly enhanced my love for music. Through her compassion, professionalism and words of
encouragement, Nancy has kept me motivated to take on many challenges and goals for myself. I
could not imagine continuing my quest for excellence in voice without Nancy!"
MAGGIE DEAN, VOICE STUDENT

"Her voice is beautiful no matter what and is informed by a touching sensitivity
to the musical phrase."
MILWAUKEE JOURNAL SENTINAL

"Houstonian Nancy Curtis soared authoritatively over the orchestra and chorus at the peaks of the
Vaughan Williams."
THE HOUSTON CHRONICLE

"First, soprano Nancy Curtis blew them away when they were least expecting it with the evening's
most powerful voice - the role she played, innocent Gilda, is usually sung by a less formidable
soprano.... Curtis' cutting power was overwhelming, especially in the slightly stylized aria at the end
of the second scene, after which the full house went wild. She has a very giving voice, even in the far
reaches of the upper register. And she exercises great control, showing fine, artful phrasing and
shaping decisions that show off her thick, rounded tone.... The duets between Honeysucker and
Curtis were the ensemble highlight of the evening."
THE NEWS TRIBUNE
TACOMA, WA

"Nancy Curtis' lapidary soprano cut through the hall's acoustical flaws to produce passages of
surpassing beauty."
THE AUSTIN AMERICAN-STATESMAN

"Curtis was particularly fierce, in the good sense of the word, in the opening work.... She continued to
be the best of the quartet throughout the evening."
THE HOUSTON CHRONICLE

"Curtis is certainly aware of this fact, as the brilliance of her upper register is matched by an equally
rich lower voice, too often absent in singers of her type. Her warm singing was sensitively
accompanied.... Her execution of the short but virtuostic cadenza of the first movement was
technically faultless and expressive. ...her final statements were the fullest and most thrilling.... Curtis
enlivened both audience and orchestra with her rendering of the final movement's folk poem. ...
Curtis' voice and face illustrated the child's view of heaven, full of character, yet never overreaching to
histrionics. Her nuanced German, impeccable intonation, and warmly expressive singing ably
illustrated the poem's idea that 'no music on earth can compare to ours'."
THE MORNING HERALD
HAGERSTOWN, MD

"Brilliant and biting in the Café Momus tomfoolery of Act II, meltingly warm at Mimi's deathbed in Act
IV, Curtis was a paragon of both physical and vocal acting."
THE SAN ANTONIO EXPRESS-NEWS

"Soprano Nancy Curtis, as Amore, had an appropriately sweet voice in her delivery of the character's
radiant passages. She came across as an embodiment of easy grace despite carrying some downy
angel wings on her back throughout the evening."
THE WASHINGTON POST

"Ford-Livene and Curtis were overall the best singers.... Curtis had the requisite spitfire personality
and vocal technique to prance around confidently."
THE HOUSTON CHRONICLE





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