Press
Lea Wood Friedman was a very credible and touching Micaela, all sweetness and innocence in the first act, mixed with courage and determination in the third. Opera Hong Kong – Hong Kong Baptist University, by Professor Tony T.N. Hung, Head, Language Centre, Hong Kong Baptist University, 29 May 2006.
Lea Woods Friedman was a heartfelt Micaela, singing with clarity and brightness of tone.” Opera Hong Kong – South China Morning Post; Natasha Rogai (Reviews), South China Morning Post, 23 May 2006.
… Soprano Lea Woods Friedman sang the role of Valencienne with careless joy, never honestly conflicted about her flirtation. Her voice brought out the comic character of her scenes, such as in the “beware” duet with Camille, and one saw a young girl reveling in the bliss of puppy loves. ‘Merry Widow’ full of laughs; Acting and singing excellent in operetta by George Warren, Special to The Fresno Bee, Published 2/25/06.
“Local favorite Lea Woods Friedman received an enthusiastic ovation for her sympathetic portrayal of the slave girl Liu. Honolulu Star-bulletin; Hawaii Opera Theater “Turandot”, February 27, 2005.
“…Lea Woods Friedman’s Valencienne balanced clarion singing and superb articulation with a sure sense of the idiom, setting her apart from the crowd in the best way possible. Financial Times; The Merry Widow; Lyric Opera, Malaysia, September 4, 2004.
“Lea Woods Friedman as the ‘highly respectable wife’ [in the Merry Widow] showed how Valencienne should be sung – with spotless clarity, and an assured, bodied tone that never faltered, even during her high kicks in can-can dancer mode. The Malaysian Star; August 26th, 2004.
“The solo piece de resistance from the opera is Quando men vo, popularly known as “Musetta’s waltz,” which Lea Friedman of Hawaii interperted with panache and an exquisite sound which the audience applauded enthusiastically.” IVAI and Conservatorio de Musica de Puerto Rico Symphony Concert: The San Juan Star, by Peggy Ann Bliss, July 1st 2004.
“There were some very good performances, most notably those by Lea Woods Friedman (Papagena).” The Honolulu Star-Bulletin, by Ruth O. Bingham, February 28th 2003.
“Lea Woods Friedman, his counterpart as Papagena, did more with that little role than did several other performers with much larger ones. The Magic Flute (Hawaii Opera Theatre). The Honolulu Advertiser, by Gregory Shepherd, February 28th 2003.
“People are still talking about Lea Friedman. She gave a wonderful performance at the Orvis Auditorium in a benefit concert for the Hawaii Opera Theater and the Race For A Cure…” What’s Up, February 2002; Oahu, Hawaii.