| Critic’s
Comments
Norma,
Opera Ireland, Dublin, November 2003
Regina
Nathan's reading of the title role was packed with insight--the
extraordinarily taxing coloratura writing. She understood
that this complexity is not merely for display, so her definition
of gesture was unfailing...Her voice could "weave a
spell of magic about the plainest word in the plainest recitative".
Martin
Adams, The Irish Times, November 2003
Madama Butterfly
Opera Ireland, Dublin, November 2000
Another great performance came from Regina Nathan in Madama Butterfly that had the audience on its feet. Nathan produced a last act of such rapt despair that nothing else much mattered, singing with amazing control over the widest dynamic range.
Robert Thicknesse, The London Times, November 2000
Regina Nathan's heart rending and gloriously sung heroine...
Hugh Canning, The Sunday Times, November 2000
Rising above them all, as the title role should, was Regina Nathan. Her mix of delicacy and power, secure intonation, unfailing good tone and strong acting produced a performance to remember.
Martin Adams, The Irish Times, November 2000
Musically this Butterfly moves beyond the ordinary through Regina Nathan's deeply satisfying Cio Cio San. Her initial artless adolescent ripens to a determined mature woman. Vocally vibrant, Ms Nathan deserves the audience's standing ovation.
Pat O' Kelly, The Irish Independent, November 2000
The company had another major triumph with this imaginative production with a well deserved standing ovation for its heroine, Regina Nathan, who gave a ravishing performance of the unfortunate heroine.
Ian Fox, The Sunday Tribune, November 2000
Opera Gala Concert
Dublin, September 1999
Regina Nathan was in spectacular form, demonstrating her faultless technique and quality of voice in such gems as ‘Un bel di’ from Madama Butterfly, a perfectly phrased ‘Ebben n’andro lontano’ from La Wally, ‘Arrigio! Ah parli a un core’ with its tortuous descending and immediately ascending scales from I Vespri Siciliani and then the show stopper of the concert, ‘E strano..sempre libera’ from La Traviata.
Declan Hassett, The Examiner, September 1999
La Traviata
Opera Ireland, April 1999
Regina Nathan is a strongly characterised Violetta, both radiant and intimate, revealing with skill her internal conflicts of will and compassion. Audiences at The Gaiety are not accustomed to singing with the detailed emotionalism and finely-gauged vocal responses she offered, and the unequivocal nature of their enthusiastic response on the opening night ranks as a clear personal triumph.
Michael Dervan, The Irish Times, April 1999
Opera Ireland opened its new production of La Traviata with Regina Nathan making her Irish debut in the role of Violetta Valéry. As the extrovert courtesan in Act 1 she managed the coloratura passages with conviction, and later as a refined introspective Violetta facing emotional challenges and finally death, she wasn’t found wanting. Her death scene was in fact very touching.
Gus Smith, The Sunday Independent, April 1999
Hansel and Gretel
Scottish Opera, December 1998
But there is no escaping of an excellent cast....Regina Nathan was superb as Gretel in Scottish Opera’s production of Hansel and Gretel.
Rodney Milnes, The Times, December 1998
Opera Gala
Cork City Hall, October 1998
Regina Nathan has all the star qualities. A deceptively powerful voice, always under control and a stillness of delivery which stamps class on her entire performance….this was her finest hour in this acoustically balanced auditorium.
Declan Hassett, The Examiner, October 1998
The Tales of Hoffmann (Antonia),
Opera Ireland, April 1998
Regina Nathan sang with a Maria Callas-like plaintive quality in her soaring and soulful vocals. She was able to capture the high-minded aesthetic yearning of Antonia yet hint at her humanity and frailty.
Patrick Brennan, The Examiner, April 1998
The musical magic is focused in the female voices of the cast....the most radiant of all being Regina Nathan’s Antonia.
Hilary Finch, The Times, April 1998
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