"Michaels was in top form - her voice luminous, diction clear and phrasing exquisite. She negotiated the octaves with deceptive ease and her acting was bewitching. A highlight - in an evening of many - was the duet "Restati qua..." between Zerlina and Leporello from "Don Giovanni" tailored to Laschi-Mombelli's comedic wiles. Michaels, fittingly coquettish, was teamed with bass-baritone Peter Van De Graff in a skit of utmost hilarity and expressive vocalism."

Ted Shen
Chicago Tribune
February 12, 2002
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"'Even though it was held on a bitterly cold day in February, the start of the concert had to be delayed for 20 minutes because the walk-up line for tickets was so long!' Happily, thanks to Ginsburg's efforts, listeners can now appreciate Michaels' winning performance without braving those Chicago winds."

Steve Smith
November 2, 2002
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"Patrice Michaels is convincing in her insight and stunning in her virtuosity. Just listen to the ease with which she negotiates the intervals and runs in Mozart's Tra l'oscure ombre funeste or Righini's relatively brief but impressive Per pieta, deh, ricercate. The lyrical qualities of Michaels's significant instrument enter the spotlight in Martín y Soler's Dolce mi parve un di and Salieri's Sola e mesta fra tormenti. Michaels possesses a rich and full voice that has made her a consistent choice of performing organizations like Lyric Opera of Chicago, the Chicago Symphony Orchestra, and other leading orchestral and chamber ensembles here and abroad. In addition, she has a strong ability to get behind the notes and inside the libretto emotionally, enhancing each presentation with appropriate gravitas and intensity. In sum, despite the technical and expressive difficulties found in this music, every note is presented without affectation or strain, making Michaels's interpretations nothing less than models of their kind.....Fanfare's Classical Hall of Fame."

Michael Carter
July/August, 2003
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"... a delightful slice of musical life, performed with authority and panache, with period details."

Judith Malafronte
Opera News
December 2003
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"... the warmth, immediacy, and meticulous stylistic attention that distinguish these performances combine to create the illusion of a time tunnel. Moving backwared, the listener finds himself magically transported to the Burgtheater, the ideal venue for this music. One can easily picture any one of these divas composing herself as her moment approaches. One then relishes the joy of hearing an experienced singer negotiate music composed specifically for her. One readily imagines Cavalieri as Nannette, imperiously delivering 'Wenn dem Adler das Gefieder.' In the mind's eye, one delightedly watches Storace dance as well as sing her charming 'minuetto' tune: one then sheds a tear as she renders K. 505, Mozart's bittersweet parting gift. Perhaps more importantly, the late-eighteenth-century music advances into our time and vividly imprints its messages. To paraphrase Robert Winter's definition of historically informed performance practice, the performances recorded here evoke the worlds - musical, cultural, and social - in which these works existed, and relate these worlds, through interpretation, to that work in the present (in R. Larry Todd, ed., Nineteenth-Century Piano Music [1990], 20-21). Resurrected through Patrice Michaels's magnificent interpretations, the divas stand before us, resplendent in the bright vocal array tailored so elegantly for them by Mozart, Righini, Salieri, Martín y Soler, Storace, and Cimarosa. Divas of Mozart's Day truly is a recording to treasure.

Malcolm S. Cole
Mozart Society of America
February 2003
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"Soprano Patrice Michaels, a consistently excellent singer who brings tremendous technique, taste, and intelligence to each aria, makes this program a joy. Whether it's Salieri's tortuous 'Wenn dem Adler das Gefieder,' written for Caterina Cavalieri (1755-1801), or the peppery rondo of a rarely performed aria for Susanna from Mozart's Nozze di Figaro, Michaels triumphs. She has top notes aplenty, dead-on pitch, and her articulation (she sings in Italian, German, and English) is dry-martini crisp."

Craig Zeichner
Early Music America
Spring 2003
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"She is equally at home in the serious and comic selections and never indulges in vocal or interpretive overkill. She handles the virtuoso arias as if they are pieces of cake and is also able to sing more reflective, lyrical moments in an appealingly simple manner.

American Record Guide
January/February 2003
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"... the consistently stunning singing of soprano Patrice Michaels. This recital is a tour de force in every sense, and Michaels demonstrates remarkable assurance in the face of every technical challenge. But Michaels does more than surmount difficulties; she also manages to be expressive even while contending with almost inhumane technical hurdles ... one hopes that there will be many more times to encounter this very special singer and her spectacular skills."

Gregory Berg
Journal of Singing
March/April 2003
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" ... soprano Patrice Michaels proves eminently up to the various demands of range, agility, and expressivity inherent in these pieces, and she is well supported by the ravishingly stylish playing of the Classical Arts Orchestra under Stephen Alltop."

E. Thomas Glasow
The Opera Quarterly
April 2003
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"... Michaels's attractive voice and secure technique does them full justice. This unusual and original disc will delight anyone with an interest in 18th-century opera in Vienna that extends beyond Mozart."

Charles Osborne
Opera Magazine
April 2003
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"Here are delights for the Mozart lover as well as, more widely, for readers keen to sample what was going on in Vienna in the period of Mozart's greatest operas.... This is a recording that readers should acquire as quickly as possible."

Peter Branscombe
International Record Review
March 2003
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"Michaels has become quite an impressive artist... the technique is impressive... a lyric soprano with a fine top... a sensual middle, with easy handling of trills, coloratura, and ornaments."

Robert Levine
October 2002
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"For Michaels' lucid and open singing, warm but always sharply defined, and for the freshness of its concept as well as the newness of the repertoire, it's our Arizona Republic-KBAQ Classical CD of the Week."

Kenneth LaFave
The Arizona Republic
October 19, 2002
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"With her rich voice and incredible range of inflections, Michaels revives the spirits of five prima donnas who figured in Mozart's life in Vienna."

Mary Kunz
Buffalo News
March 10, 2003
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"For those who don't necessarily enjoy listening to sopranos sing (Editor's note: That would be me), Patrice Michaels just might be able to change your way of thinking."

Paul Barile
Chicago Arts & Entertainment
December 5-11, 2002
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"... such a large crowd for a brand new program... the music, the musicianship, and the bravura performances...The walk up business for this event was near record breaking here at Pick-Staiger..."

Richard Van Kleeck
Director of Concerts
Pick-Staiger Concert Hall
Northwestern University
February 14, 2002
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