Final bows with William Bolcom for his 80th Birthday Celebration in New York City - April 2018
A review of Bolcom's 80th Birthday Celebration concert can be found here: NewYorkClassicalReview
Out for a martini and dinner with Mr. Bolcom and Ms. Morris gaining even more insight to his works - April 2018
Taking a break (and acting silly) during a video shoot at Seattle's Classical KING FM 98.1 - May 2016
Representing the Early Music Guild and Seattle Baroque Orchestra at the TeenTix Teeny Awards with cellist, Nathan Whittaker (who also happens to be my husband!) - September 2014
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The sweet inscription Mr. Bolcom wrote in my score - April 2018
Getting ready to perform Handel's Lucrezia with Jaap ter Linden, cello; Alexander Weimann, harpsichord; John Lenti, theorbo - June 2017
Proud recipient of Visiting Scholar status from the University of Washington - April 2015
I was honoured to be a part of this ad for the Early Music Guild in Seattle Met Magazine - December 2013
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What people are saying...
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…the honeyed voice of Linda Tsatsanis, one of that new breed of singers who have moved beyond stylistic accuracy for it’s own sake and expect their audiences to be as young and curious as they are.
~ Gramophone |
Soprano Linda Tsatsanis centered her portrayal of Jonathas in sheer vocal proficiency, a bright, flexible voice, big but controlled, shaded with plentiful color.
~ Boston Globe |
...her lovely voice, purity of tone and dramatic sensibilities perfectly suited the musical style first used by the Italians in the early 17th century of extreme emotion portrayed with stretched rhythms, coruscating runs, and wild dynamic differences.
~ The Gathering Note (Seattle) |
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Soprano Tsatsanis takes the proverbial spotlight in the group's vocal numbers with a big, colorful, highly refined sound and spot-on musical sense and nuance. She is dramatic in her deliveries, bringing the text to life with dynamics, ornaments, artful use of vibrato and a constant connection with her audience. The woman speaks volumes with a single arpeggio.
~ Milwaukee Journal Sentinel |
Tsatsanis has a classic sound for music of this period: light, clear and agile. What is not typical is her daring, theatrical and extroverted approach. I’ve never heard Dowland’s well-known tragic “Flow my tears” come to life so vividly, with vocal acting that would not have been out of place on the opera stage. Playing the coquette, Tsatsanis was provocative and playful in Pierre Guédron’s “Aux plaisirs, aux délices, bergère,” and Filippo Azzaiolo’s “Chi passa per ’sta strada.”
~ Express Milwaukee |
Tsatsanis sings with the expressive intensity of a great cabaret chanteuse. She sold the songs as Edith Piaf did. The body language underscored surprising and thrilling tricks with timbre and pitch inflection that made the music vivid and shared its emotional ache.
I’m thinking especially of her gripping renditions of Dowland’s famous Flow, my tears and In darkness let me dwell. In the line “jarring sounds to banish friendly sleep,” her rhythms, accents and consonants startled with their violence. In “And tears and sighs and groans my weary days,” the sighs came out as a real sigh — musically, astonishing; emotionally, heartbreaking. These interpretive anomalies leapt at the ear from a context of flawless beauty. Tsatsanis’ voice is a rich, gleaming thing with no discernible register breaks. She sings at dead center of the pitch, except when she inflects for expressive reasons. This is a great young singer, and I suspect she’s not limited to Renaissance tunes. I’d love to hear her in a Mozart opera, or in some piano bar with the collected songs of Harold Arlen in front of her.
~ Third Coast Digest (Milwaukee)
I’m thinking especially of her gripping renditions of Dowland’s famous Flow, my tears and In darkness let me dwell. In the line “jarring sounds to banish friendly sleep,” her rhythms, accents and consonants startled with their violence. In “And tears and sighs and groans my weary days,” the sighs came out as a real sigh — musically, astonishing; emotionally, heartbreaking. These interpretive anomalies leapt at the ear from a context of flawless beauty. Tsatsanis’ voice is a rich, gleaming thing with no discernible register breaks. She sings at dead center of the pitch, except when she inflects for expressive reasons. This is a great young singer, and I suspect she’s not limited to Renaissance tunes. I’d love to hear her in a Mozart opera, or in some piano bar with the collected songs of Harold Arlen in front of her.
~ Third Coast Digest (Milwaukee)
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Canadian-born Linda Tsatsanis employed her appealing, emotive soprano voice…
~ Early Music America |
...Ingrate soprano Linda Tsatsanis, whose well sung dramatic pleas made for the liveliest moments in the whole piece...
~ The Gathering Note (Seattle) |