REVIEWS 

“The finest performance in a good ensemble effort was Sun-Ly Pierce’s impassioned Bertarido—untraditionally and logically played as haggard and exhausted from his travails—immaculately phrased in a beautiful dark lyric mezzo.”

Opera Magazine with Opera News (Rodelinda, Hudson Hall)

“Pierce brought a commanding presence to the role of Toledo, her brassy and sassy vocal delivery adding to her physical swagger. Pierce managed to capture the compelling dichotomy of the character, delivering both the defensive attitude and the raw pain hidden beneath it.”

Schmopera (The Falling and the Rising, Des Moines Metro Opera)

“Sun-Ly was utterly convincing as Romilda’s dashing beloved Arsamene, with her lush, flexible mezzo-soprano, insightful musicianship and expert pants-role swagger.”

Opera News (Xerxes, Detroit Opera)

“The role of Laurene, played by Chinese-American mezzo soprano Sun-Ly Pierce, is a substantial one in the opera and needs much vocal finesse. It was performed with excellent dramatic sensitivity and vocal control, and Pierce received a very substantial applause from the audience for her portrayal.”

Opera Canada (The (R)evolution of Steve Jobs, Calgary Opera)

“The star of the show was mezzo Daniela Mack, who gave a rich-voiced, poignant performance as the unfortunate Desdemona, fought over by men and heard by none of them. Only her confidante Emilia (an affecting Sun-Ly Pierce), pays any attention to her.”

The Wall Street Journal (Otello, Opera Philadelphia)

“[Daniela Mack] blended perfectly with the mezzo-soprano Sun-Ly Pierce, as her maid Emilia, who had a slightly lighter, less earthy, no less classy voice.”

The New York Times (Otello, Opera Philadelphia)

“Sun-Ly Pierce (Emilia) is a major find—her distinctive and beautiful mezzo soprano made every moment count, and she’s a fine actor.”

Parterre (Otello, Opera Philadelphia)

“Sun-Ly Pierce is a fast-rising star in Opera, having recently debuted in not one but four new roles at Houston Grand Opera, with additional engagements scheduled at Des Moines Metro Opera, San Francisco Opera, Aspen Opera Theater, Opera Philadelphia, and Houston Grand Opera. Her rich, versatile voice would be enrapturing on its own. Still, the union of acting and singing Pierce brings to this repertoire is utterly captivating…

A highlight of the recital was Pierce’s offering of Leo Ferré’s La mort des amants and La pipe. As accompanist and Artistic Director Laura Ward said before this set, “All we’re missing is a cigarette and an ashtray on the piano.” Pierce did transport the audience to a hazy, dimly lit French cabaret. The compositions immediately remind the listener of Edith Piaf’s witty and tragic singing – Piaf, however, could hardly grow into Pierce’s luxuriously rhapsodic tone. Even in La pipe, a humorous, tongue-in-cheek number, Pierce’s technique and color are truly unique.”

The Presser Foundation (Elysian Fields Recital with Lyric Fest)

“Mezzo-soprano Sun-Ly Pierce made Donna Elvira into more than a harpy as she pursued Giovanni relentlessly, reflecting at times an undeniable attraction to him as well as anger. Her Act 2 aria, “Mi tradi,” was the showstopper it should be.”

Aspen Times (Don Giovanni, Aspen Opera Theater)

“Her thoughtful and graceful performance was apt to the tone of the production, not strident, not aggressive, but tasteful and thoughtful.”

OperaWire (Dream of the Red Chamber, San Francisco Opera)

“Mezzo-soprano Sun-Ly Pierce treated the trouser role of Stephano, one of Romeo’s pals, to a lustrous voice and breezy demeanor.”

Texas Classical Review (Roméo et Juliette, Houston Grand Opera)

“Sun-Ly Pierce, whose voice was commanding throughout, produced fireworks in the final choruses of Britten’s Funeral Blues and vamped it up in William Bolcom’s clever Amor. The encore, I Wish It So by Marc Blitzstein, left listeners wanting to hear more from this wonderfully talented pair of musicians.”

The Santa Barbara Independent (Marilyn Horne Song Competition Winners’ Recital)

“Within all of these well-crafted renditions, it was mezzo-soprano Sun-Ly Pierce in the role of the naive and amorous page Cherubino who gave the most entertaining and well-rounded showing of the entire opera. Ideally cast to play the lovesick puppy in boy's clothing, Pierce sparkled with enduring comedic flair. Vocally, her musical gravitas was anchored in an honest, substantive timbre and light, buoyant phrasing.

Though Pierce has a decidedly lighter tone at this early stage in her career, a comparison to prominent American mezzo Kate Lindsey is appropriate. In an opera industry that always needs singers who can act, one wonders what a wonder Pierce might be as Nicklausse/the Muse in Jacques Offenbach's "The Tales of Hoffmann" or the Composer in Richard Strauss's "Ariadne auf Naxos."”

The Rochester City Newspaper (Le Nozze di Figaro, Eastman Opera Theater)