Cabaret Review

 

 “Rosemary George Has Got The Right To Sing The Blues”

 

…her stance beneath the show time lights was defined elegance from head to toe.  It was not just the sophistication of her floor length gown or the smartness of her evening opera gloves; no it was more than all of that.  It was the obvious promise of an understood lyric.  She had it in her eyes and when she opened her mouth to sing, she had it in her song.  Fill up the glass and light up the candles, Ms. Rosemary George is going to set you on a slide, a vocal ride of sass-back impeccable song.”

 

“From the start Ms. George makes several things clear; she’s got diction and she’s not afraid to use it, she’s got power but she’s going to hold it down (some) and land sakes if she doesn’t have a voice that is just plain pretty.  Oh, her voice can torch, chant, rhapsodize and undoubtedly coloratura….

 

“My Man” by Maurice Yvains… George owned the lyric.  Each word delivered like a well-cut diamond.  Each syllable synchronized and caressed.”

 

…”George’s version of “My funny Valentine” was nothing short of sublime…..”

 

“Though surely with that voice, Ms. George has got the right maybe even the obligation to sweet holler down a boat load of blues.”

 

Keep the seatbelts on.  The ride is nice and slow but packs a wallop.”

 

(Pacifica Tribune, 2002, “Flirting with the Blues”, San Francisco)

 

 

International reviews

 

“Hers is a beautiful voice…”This singer’s stamp and style are in themselves impeccable.”

(The Scotsman, Edinburgh Festival Fringe, 1996)

 

“It proves that highly schooled singers such as Ms. George can relax into stylish show tunes.”  ..giving us moments of afternoon delight.”

(The Stage, London, Peter Hepple, Edinburgh Festival Fringe, 1996)

 

Reviews from the New York Times

 

“Rosemary George displayed a pure soprano and admirable technical security at her Merkin Hall Recital accompanied by Margo Garrett.  The quality of her voice and intonation made Debussy’s “Fetes Galantes II” especially telling, but she created equally persuasive vocal colors for songs by Nin, Beethoven, Prokofiev and Rossini.”

(Peter G. Davis, 1981)

 

“This listener was particularly attracted by Rosemary George’s lilting and intelligent way with one of the score’s most magical interludes, “Hither, this way” in which the soprano and chorus engaged in a deliciously stealthy dialogue that put one in mind of “A Midsummer Night’s Dream” or “Iolanthe”.

(Donal Henahan, “King Arthur”, the 92nd Street Y Chorale/Orchestra, 1981)

 

“…her charming and vivacious personality enlivened the singing.”

(John Rockwell, Carnegie Recital Hall debut, 1979)

 

Other Reviews

 

..”singers sang in a fresh, forthright, unfancified way that was most taking…Rosemary George must have special mention.”

(Andrew Porter, The New Yorker Magazine, “King Arthur”, 1981)

 

“Rosemary George was the real gem of the group.  Her range was awesome and she was clearly at home in any musical setting.”

(The Natchez Mississippi Democrat Columbia Artist’s Community Concert Series, 1993)

 

“Rosemary George’s Carmen was every bit as seductive as Bizet would have wanted.”

(Columbia Artist’s Community Concert Tours, 1995)

 

“Most captivating among the vocalists was the bright, harmonious and perfectly blended Three Ladies sung by Sylvia Hummell, Carol Gellert and Rosemary George

(The Boston Globe, “Magic Flute”, New Hampshire Musical Festival, 1987)

 

“Rosemary George was cute and perky in her rendition of “I’ll Take Manhattan” with Michael Hume.”

(The Star Ledger, “Festival of American Music Theater”, 1995)

 

“Rosemary George’s traversal of Island Magic from “Trouble in Tahiti” was a riot.  Anchored to a microphone, she sang with gusto, acted and danced as if she had a whole stage.”

(The Star Ledger, “Festival of American Music Theater”, 1998)