© Copyright All RIghts Reserved Tracy Watson 2014
TracyWatson Home About Recordings Reviews Contact


As Soloist in Mahler's

Symphony No.8


The finest solo singing of the evening came from mezzo soprano Tracy Watson (Maria Aegypticus) who sang with a poised purity and touching eloquence.

Lawrence A. Johnson - Chicago Classical

Review - April 20, 2010

As Vocal Soloist with the

Joffrey Ballet

Postcards(with the lush-voiced Tracy Watson  singing songs of Erik Satie) captures the romance and energy of early 20th century Paris, with a whimsical collage backdrop by Herbert Migdoll. The female dancers floated like wind-blown soap bubbles.

Heidy Weiss - Chicago Sun-Times

October 17, 2008

As Soloist in Beethoven's

Missa Solemnis

Tracy Watson sang expressively and sensitively. Watson was particularly inspired, singing with notable emotional commitment.

Lawrence A. Johnson - Chicago Classical

Review - March 6, 2012

Tracy Watson consistently overpowered both in quality of sound and impact of expression."

Alan G. Artner - Special to the Tribune -

March 6, 2012

The Secretary in Menotti's

The Consul

(with Portland Opera)

… the finest performance of the evening belonged to Tracy Watson as the Secretary. Her clear, rich mezzo soprano commanded the stage, and her aria, 'Oh, Those Faces,' was both powerful and moving.

Steffen Silvin - The Williamette Week

Rosina in the Barber of


(With Chicago Opera Theater)

...she is the very model of a spunk, empowered, feminist heroine who is clever enough to get her way.  Singing in the original mezzo soprano keys, she sails securely  through her florid passages.

Chicago Tribune

Mrs. Cratchit in Musgrave's

A Christmas Carol

(with Theater Aachen)

The most beautiful voices of the evening (Musgrave's A Christmas Carol) belonged to the baritone Mark Morouse and the mezzo soprano Tracy Watson.

Aachner Volkszeitung

Alto soloist in Mahler's

Symphony No. 3

(with Sheboygan Symphony)

…mezzo soprano Tracy Watson…her voice soaring over the audience. Watson's presence through the fourth and fifth movements gave the concert the boost it needed to become memorable for the right reasons.

The Sheboygan Press

As Alto Soloist in Prokofiev's

Alexander Nevsky

(with South Bend Symphony Orchestra)

SBSO magnificent with epic work. Watson  joined the orchestra for 'The Field of the Dead,' and the rich tone and color of her voice and her expressive, in-character delivery highlighted the mourning nature of this lament but also contained resilience and pride.

Andrew S. Hughes - South Bend Tribune - April

12, 2008

Dance for Life revisits the


The Joffrey Ballet reprised Robert Joffrey's German Romantic-era 'Remembrances,' with mezzo-soprano Tracy Watson's velvet interpretations of Richard Wagner's lieder music (performed live together with pianist Paul Lewis) accompanying legendary partners Maia Wilkins and Willy Shives. The work evoked a fleeting, melancholic air.

Lucia Mauro, Special to the Chicago Tribune

Opera Night at the

Auditorium Theater

In excerpts from 'Carmen,' Watson was a similar force of nature. Slim and sexy in a long red velvet sheath, she poured out equal parts hauteur and seduction.

Wynne Delacoma, Classical Music Critic -

Chicago Sun-Times

Alto soloist in Haydn's

Theresienmesse with Music

of the Baroque

Tracy Watson brought a warm yet agile mezzo soprano to her MOB solo début

John von Rhein - Chicago Tribune

Dorabella in Mozart's Così

fan tutte

(with Staedtische Buehnen Dortmund)

…and the young and very talented Tracy Watson as Dorabella…


Tracy Watson as Dorabella and Marion Henseler as Despina ventured an exceedingly successful installment of the Dortmund celebration and we recommend them for further engagements.

Wochenkurier (Dortmund)

Musetta in Puccini's La

Bohème (with Madison Opera)

Tracy Watson as Musetta rolls the show like a hoop whenever the pathos becomes a bit too strong.

The Capital Times

Anyone lamenting the supposed scarcity of talent among the relatively recent influx of young opera singers across the United States just hasn't been listening. The Madison Opera production of Puccini's La Bohème Friday night stunningly demonstrated the wealth of ability in this group of high quality young singers…Marcello and his Musetta, Tracy Watson, were fiery in their on-and-off lovers' relationship. Watson was fine in her central waltz aria.

Wisconsin Journal

Tracy Watson as soloist in

Bach's Mass in b minor

(with The Tampa Chorale and the

Florida Orchestra)

The orchestra pounced on the 'Gloria' with a joyful burst from trumpets and timpani, and mezzo-soprano Tracy Watson spun a creamy 'We Praise You' aria before the full chorus - brilliant in the upper registers - offered a soaring response of thanks.

Kurt Loft - Tampa Tribune

Cherubino in Mozart's Le

Nozze di Figaro

(with Theater Oberhausen)

Tracy Watson was Cherubino, with his/her roguish traits and a voice full of charm - she is simply a treasure!

Orpheus Magazine

…a dream casting of Tracy Watson as Cherubino, her acting ranged from quiet whimpering to ardent imploring.

WZ Düsseldorf

Quite best of all was the Cherubino of Tracy Watson, a 'spit-fire' with charm in appearance and voice, with an unmistakable affinity for Mozart.

Opera und Konzert

The Cherubino, Tracy Watson, with her rich mezzo, is a real 'Stürmer und Dränger'

WAZ Oberhausen

Superior was Tracy Watson as the young/fresh, vocally flexible Cherubino.

NRZ Oberhausen

An equally excellent transformation of a role was demonstrated by Tracy Watson as Cherubino. She was quite free and easy.


Polovtsian Maiden in

Borodin's Prince Igor

(with Grant Park Symphony


Tracy Watson sang a sensuous Polovtsian Maiden.

Chicago Tribune

The local singers who were involved in this performance did a superb job, notably Tracy Watson with her spectacular soaring soprano, intoning the beautiful Polovtsian music of act two.

The Reader

The Madison Opera's production of Puccini's La Bohème was a triumph worthy of any world culture center, thanks to amazing young singers, fine acting, wonderfully subtle stage direction, inspired orchestral playing, and out-and-out lyrical genius on the podium…the free-spirited Musetta (Tracy Watson) placed more emphasis on rebellion than guile…her voice was bright and clear.