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| September 30, 2001 "Upshaw was dreamy in a pleated white dress as Ilia," wrote Ronald Blum in his review of the Met's September 29 Idomeneo for Associated Press. |
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"Upshaw is a pure delight," wrote Ronald Blum in a December 20, 2001, review for Associated Press of the Met's Hänsel und Gretel. But Martin Bernheimer wrote in a review at ft.com, "Dawn Upshaw's itty-bitty little-girl soprano seems apt as the hyperkinetic Gretel, though her cutesy-pooh manner begins to cloy early in the evening." |
| "Santa Fe Opera this year devoted its ravishing outdoor views and still-new, hull-shaped auditorium to the American premiere of 'L'Amour de Loin.' For this spiritual story of a medieval troubadour and an Eastern beauty, Saariaho composed shimmering harmonies, choral and symphonic showers and highly distilled emotion, much of it derived from Amin Maalouf's limpid libretto. Gerald Finley, Monica Groop and, notably, Dawn Upshaw maintained the internal drama on a glistening pool of water, lighted boat and twinned spiral staircases."--Michael Barnes in the Austin American-Statesman. |
| "Having created the role and repeated it everywhere else, Dawn Upshaw was a compelling Clemence; her bright soprano can lack emotional charge in other contexts, but here she negotiated the melismatic lines with angelic ease and was powerful in her final rage against God,'--John Allison in the Times of November 22, 2002, reviewing a London concert performance of L'Amour de Loin. |