Molly Quinn made the most of her flickering and then soaringly riveting appearances in front of the choir, in and out of Dominick DiOrio’s I Am, a prayerfully-tinged, bittersweet launching pad for her literally spine-tingling flights to the upper registers as it wound up on an optimistic note.
– Julieta Gomez de Mello
“Molly Quinn’s light, crystalline soprano was ideal for the role of Belinda”
“And Molly Quinn, soprano, brought a prim, radiant sweetness to the finale’s childlike vision of heaven.” Mahler’s Fourth Symphony.
Quinn’s account of “Sì dolce è il tormento” (“So sweet is the torment”) was full of ardent directness.”
Molly Quinn made him a lovely, feisty companion, her soprano aptly less soubrette than a delicate lyric.” (Papagena, Die Zauberflöte)
“Quinn’s voice blooms like ink in clear water.”
(St Matthew Passion, 2013) Dr Michael Bordt
The soprano Molly Quinn, whose aria ‘Aus Liebe’ was one of the highlights of the evening. (St Matthew Passion, 2013) Dr Michael Bordt
In the motet “Pulchra es” she(Jolle Greenleaf) joined her fellow soprano Molly Quinn in a duet of arresting sweetness and simplicity, their voices carefully matched in purity and expression. They delivered the difficult passage — the throaty rhythmic quickening of early-17th-century vocal music — with practiced precision.” (Green Mountain Project, Vespers of 1610)