PRESS
DREAMS AND MONSTERS; DRAMATIC MUSIC OF RAMEAU WITH BOSTON EARLY MUSIC FESTIVAL
"It was lovely to hear soprano Teresa Wakim in her high-flying element, Volez, plaisirs..."
The Boston Globe, June 2019
LA MUSIQUE IN CHARPENTIER: LES PLAISIRS DE VERSAILLES WITH BEMF
"It's probably unfair to single out individuals, but Teresa Wakim and Marjorie Maltais, as the comically squabbling Music and Conversation in Charpentier's Versailles, were pretty hard to resist."
The Berkshire Eagle, June 2019
MELISSA IN STEFFANI: ORLANDO WITH BOSTON EARLY MUSIC FESTIVAL
"Soprano Teresa Wakim had a brief but potent moment as the sorceress Melissa..."
The Wall Street Journal, June 2019
MOZART: EXSULTATE JUBILATE WITH THE CONNECTICUT EARLY MUSIC FESTIVAL
"Wakim, winner of the 2010 first prize at the International Soloist Competition for Early Music in Brunnenthal, Austria, showed off her dazzling coloratura ability in Mozart's Exsultate jubilate, K. 165. Adding ornamentation to the beautiful melody, her voice floated above the talented Connecticut Early Music Ensemble, painting swirls of color that cascaded in a rich vanilla timbre thanks to a warm and controlled vibrato.The gorgeous waterfall of notes in the andante section gave way to a spine-tingling conclusion in the thrilling allelujah finale that had the crowd on its feet in appreciation."
The Day, June 2018
TELEMANN: SAINT LUKE PASSION OF 1744 WITH BOSTON BAROQUE
"Wakim's precise intonation and sure rhythmic sense did full justice to the crisp rhythms traded between strings and soprano... In the da capo... Teresa Wakim's virtuosic but always idiomatic ornamentation took full flight."
The Boston Musical Intelligencer, March 2018
GALATEA IN HANDEL: ACIS & GALATEA WITH BACH COLLEGIUM SAN DIEGO
"Teresa Wakim's clear buoyant voice effectively portrayed the range of emotions- longing, love, anger, sadness- that Galatea expresses."
The San Diego Union-Tribune, October 2018
LA SERENA IN FRANCESCA CACCINI: ALCINA WITH BOSTON EARLY MUSIC FESTIVAL
"Teresa Wakim was a mere siren, but her aria was stunning."
Concerto Net, November 2018
MARY MAGDALENE IN HANDEL: LA RESUREZZIONE WITH BOSTON EARLY MUSIC FESTIVAL
"The soprano Teresa Wakim gave it a delightful turn, shooting off high notes as if from sparklers. Any audience not dominated by intently focused early-musickers might have stopped the show."
New York Times, June 2017
OMBRA FORTUNATA IN CAMPRA: LA CARNAVAL DE VENISE WITH BOSTON EARLY MUSIC FESTIVAL
"Aaron Sheehan and Teresa Wakim were wildly entertaining as Orfeo and a Happy Shade..."
The New York Times, June 2017
SOLOIST IN BACH: ST MATTHEW PASSION WITH EMMANUEL MUSIC
"Soprano Teresa Wakim brought the audience into another world with her Aus Leibe,"
The Boston Musical Intelligencer, April 2017
GALATEA IN HANDEL: ACIS & GALATEA WITH BOSTON EARLY MUSIC FESTIVAL
"Teresa Wakim turned her soprano to finely spun effect, eschewing brilliance for pervasive lyricism."
Boston Globe, December 2015
"Teresa Wakim looked radiant and regal in her bluish purple gown with fetching lace at the end of its sleeves. Her ornamentation was exquisite and she sang beautifully."
The Arts Fuse, December 2015
"Teresa Wakim has mastered the technique of ornamentation so that her melodic excursions always sounded tasteful, viruosic but never empty flourishes,"
Boston Musical Intelligencer, November 2015
SOLOIST IN BACH: ST. JOHN PASSION WITH AMERICAN CLASSICAL ORCHESTRA
"The soloist who seemed to capture everyone's heart, however, was Teresa Wakim, soprano, particularly in the final aria of the night, Zerfliesse, mein Herze... Further set aflame by Teresa Wakim's soprano and heavenly crescendos,"
Classical Lite, November 2015
DRUSILLA IN MONTEVERDI: L’INCORONAZIONE DI POPPEA WITH THE BOSTON EARLY MUSIC FESTIVAL
“Other standouts among the cast included... and Teresa Wakim as an appealing Drusilla.”
Boston Globe, June 2015
“Teresa Wakim sang prettily in the role.”
Boston Classical Review, June 2015
“Wakim sang with power and conviction.”
Boston Musical Intelligencer, June 2015
BLONDE IN MOZART: ADBUCTION FROM THE SERAGLIO WITH EMMANUEL MUSIC
“Livelier still was Wakim as a very British Blonde; she was the best actor on stage, and her sharp-focused “Durch Zartlichkeit und Schmeicheln” put Osmin in his place.”
Boston Globe, May 2015
“Teresa Wakim’s Blonde was an equally commanding performance. Wakim’s soprano was lighter and brighter than Kilduff’s, befitting her role, and boasted immense control and flexibility in her her upper register. She was particularly effective in her first aria, ‘Durch Zartlichkeit und Schmeicheln,” her voice sailing up to the top note with wonderful ease and lingering for some crystalline staccato.”
Boston Classical Review, May 2015
SOLOIST IN ORFF: CARMINA BURANA WITH MASTER CHORALE OF SOUTH FLORIDA
“Soprano Teresa Wakim’s fluid lines and effortless command of her high register made for impressive passages in ‘Amor’, and a wonderful arietta in the short and lyrical ‘Dulcissime,”
South Florida Classical Review, Feburary 2015
MANTO IN STEFFANI: NIOBE REGINA DI TEBE WITH BOSTON EARLY MUSIC FESTIVAL
“Muy bien, Teresa Wakim, soprano tirando a soubrette, pero muy sensibile y tecnicamente solida.”
El Arte de le Fuga, January 2015
“Colin Balzer und Teresa Wakim geben ein fruhes Buffopaar, die pastorale Folie, vor der der konigliche Hochmut ausgestelt wird. Wakim fuhrt ihre Stimme absolut rein und deutet Gefuhle mit leichten Eintrubungen an, ein grosses Rollenportrait.”
Wa.de, February 2015
SOLOIST IN BACH: CHRISTMAS ORATORIO WITH VANCOUVER EARLY MUSIC
“Teresa Wakim has passion and charm,”
Vancouver Sun, December 2014
LIESGEN IN BACH: COFFEE CANTATA WITH ASTON MAGNA
“Wakim made Purcell’s ‘I Attempt from Love’s Sickness’ enjoyable by throwing herself wholly into the fanciful melisma on “fly”, around which the rest of the song was arranged as a humble setting to a gem... There was even a moment of true joy in all of this music-hall comedy—when Wakim sang her aria asking her father to find her a husband, her effortless leaps conveyed a lighter-than-air ecstasy that transcended the modest material.”
Boston Musical Intelligencer, July 2014
TAMIRI IN MOZART: IL RE PASTORE WITH GRAND HARMONIE
“Grand Harmonie had assembled a galaxy of local stars for this particular evening. Dominique Labelle, Amanda Forsythe, Teresa Wakim - these are the names you want on any early-music playbill, and all three delivered performances that ranked among their best... But wait, there’s more: as Tamiri, a heart-broken pawn in the libretto’s game of love and war, Teresa Wakim played silvery moon to Labelle’s sun, with a ravishingly pure rendition of “Se tu di me fai dono.”
The Hub Review, June 2014
“Tamiri was sung by Teresa Wakim with compelling virtuosity and affecting beauty of tone. Her Andantino in A major, “Se tu di me fai dono”, was notable for the variety of tone color she employed as her lament increased its intensity.”
Boston Musical Intelligencer, June 2014
“Tamiri, the deposed princess that Alexander decides to marry off to Aminta, was sung by Teresa Wakim with the kind of effortless, simple clarity, that technique-wise, is anything but.”
Boston Globe, June 2014
SOLOIST IN BACH IN LEIPZIG WITH SAN FRANCISCO SYMPHONY
“...a quartet of outstanding vocalists; American soprano Teresa Wakim, Polish mezzo Bogna Bartosz, German tenor Tilman Lichdi, and his fellow countryman, bass Klaus Mertens... the cantata also held some truly astonishing vocal one-on-one interactions, for instance when bass (Mertens) and soprano (Wakim) exchanged some of the vapid laudations and forgettable pleasantries than an unknown librettist penned...”
San Francisco Classical Voice, May 2014
DANIEL IN HANDEL: SUSANNA WITH EMMANUEL MUSIC
“Teresa Wakim in the small role of Daniel was an absolute treat. Her soprano was effortlessly pure and agile, and her Daniel was every inch a thirteen-year old boy who relished interrupting his elders and delivering morals at the end of his divine judgements. Her aria “Chastity, thou cherub bright” was a highlight of the evening.”
Boston Classical Review, April 2014
GALATEA IN HANDEL: ACIS & GALATEA WITH MUSICA ANGELICA
“As the eponymous young lovers, Teresa Wakim and Steven Caldicott Wilson possess sweet, crystal clear voices that can negotiate Handel’s coloratura passages with ease and soar when necessary.”
Gazettes, March 2014
BACH: CANTATAS 120, 97, AND 33 WITH DRYDEN ENSEMBLE
“Ms. Wakim demonstrated a glorious top register, quickly finding the optimum resonance of the space in Miller Chapel. She had a real ring to her voice within a Baroque context, elegantly handling melismas on specific words, such as “freundlich” in her opening aria...The closing Cantata 97 featured each soloist in an aria, with Ms. Wakim’s voice like icing on the cake over the counterpoint of the other three soloists.”
Princeton Town Topics, February 2014
HANDEL: MESSIAH WITH ALABAMA SYMPHONY
“Teresa Wakim, a strong, clear-voiced soprano who has sung with well-known Baroque specialists such as Harry Christophers, Nicolas McGegan and Martin Pearlman, decorated many of her solos with an array of ornaments that were not only beautifully conceived, but expertly rendered. Her “I Know That My Redeemer Liveth” was given especially tasteful creative license.”
All Alabama, December 2013
PRAETORIUS: CHRISTMAS VESPERS WITH APOLLO’S FIRE
“There were too many special moments to count, but one of them involved the three featured soprano soloists, Nell Snaidas, Teresa Wakim and Amanda Powell, who stopped time in the first half with their astonishingly expressive performance of Ach, mein Herre from Polyhymnia and immediately returned to illuminate Wir glauben all an einem Gott with rays of vocal sunshine.”
Cleveland Classical, December 2013
BRAHMS: EIN DEUTCHES REQUIEM WITH THE OMAHA SYMPHONY
“Soprano Teresa Wakim, who took part in a Grammy-nominated recording of the work, seizes and holds the audience’s attention with a deeply expressive face. She floated sweetly high notes from the stage over the audience to open the fifth movement, “Ihr habt nun Traurigkeit”...
Omaha World-Herald, November 2013
MOZART: EXSULTATE JUBILATE WITH NEW WORLD SYMPHONY
“Teresa Wakim has often been a standout soloist with Seraphic Fire. Her radiant, bright-toned soprano spun Mozart’s cantabile lines with purity and her trills were spot on. In the famous Alleluia, Quigley’s moderate tempo allowed Wakim’s accurate coloratura to shine.”
South Florida Classical Review, November 2013
PURCELL AND HANDEL WITH PACIFIC MUSICWORKS
“Sopranos Teresa Wakim and Clara Rottsolk sang with expressive finesse,”
Seattle Times, October 2013
CLERAMBEAULT: ORPHEE WITH BOSTON BAROQUE
“With resonant voice, soprano Teresa Wakim, a formidable Baroque stylist, captured the energy of the florid vocal lines. She softened her tone for a poignant central aria, where Orpheus pleads with Pluto to set his beloved Euridce free... The final aria, which featured Wakim in a dazzling display of vocal fireworks, celebrated the triumph of love over death.”
Boston Classical Review, October 2013
BACH: MASS IN B MINOR WITH THE HANDEL & HAYDN SOCIETY
“...another highlight was from Teresa Wakim soprano and Matthew Anderson, tenor, in the Domine Deus, their lines intertwining quietly and stunningly with Christopher Krueger’s limpid baroque flute.”
Boston Musical Intelligencer, September 2013
“Soprano Teresa Wakim and tenor Matthew Anderson rendered their duet Dominue Deus with a dance-like feel and ringing tone.”
Boston Classical Review, September 2013
ANGEL IN HANDEL: JEPHTHA WITH THE HANDEL & HAYDN SOCIETY
“Teresa Wakim introduced a gracefully floated soprano as the Angel.”
San Francisco Classical Voice, April 2013
FILIA IN CARISSIMI: JEPHTE WITH BOSTON BAROQUE
“The part [of Filia] was sung by soprano Teresa Wakim, whose stunning performance was the highlight of the evening. She was able to completely inhabit the role of an innocent girl who loves her father and is suddenly faced with the fact that he must kill her... While Carissimi did a fine job of writing this jarring emotional trajectory into the part, it was Wakim who was beautifully able to bring out the nuances of the music, from childlike glee to heartbreakingly confused sorrow, all supported by a glowing voice and nearly flawless technique. The one disadvantage to her performance was that it was almost an impossible act to follow.”
The Boston Musical Intelligencer, March 2013
“...tenor Owen McIntosh as the heroic warrior and soprano Teresa Wakim as his daughter delivered the most touching vocal work- Wakim especially, singing the striking aria Plorate colles...”
Boston Classical Review, March 2013
“... [Pearlman] drew remarkable solos from... particularly the reliable Teresa Wakim, whose pure soprano imbued the doomed daughter's lament with a devastating ache.”
The Hub Review, March 2013
HAYDN: CREATION WITH NEW BEDFORD SYMPHONY
“The three soloists were outstanding... Wakim sang Gabriel’s dazzling operatic arias with sumptuous finesse.”
South Coast Today, February 2013
RECORDING OF MOZART: CORONATION WITH THE HANDEL & HAYDN SOCIETY
“The disc also contains the popular, much-recorded motet Exsultate, jubilate. Wakim sings with fresh, limpid tone and technical accomplishment,”
Opera News Online, 2013
“Among the soloists, Teresa Wakim, an H&H chorister since 2003, steps into the spotlight beautifully, rendering the mass’s closing Agnus Dei in particular with a delicacy of phrasing and a melting purity of tone that make it a highlight of this release.”
The Boston Globe, November 2012
“Christophers, who has a reputation for bringing out homegrown talent includes it here to showcase a member of his choir, Teresa Wakim, who is starting to make a splash in many circles. Hers is certainly a fine rendition, and she has a lovely voice with beautiful tonal qualities.”
Audiophile Audition, October 2012
BOSTON BAROQUE’S NEW DIRECTIONS CHAMBER MUSIC SERIES
“Over a walking bass on cello, Wakim sang with great tone and clarity; Darling matched violin to voice, delivering a fine reading of this duet, in name an aria. Wells and Wakim joined forces for the duo Quel fior che all’ alba ride, a meditation on the inevitable passage of time, rounding out this set of music on a satisfying and rosy note...Wakim and Wells gave a spirited reading, at times matching vocal timbres and at others highlighting the differences between the two vocal lines. The result was a moving performance by talented musicians — a fitting conclusion and apt summary of the concert as a whole.”
The Boston Musical Intelligencer, November 2012
BACH: MAGNIFICAT WITH THE HANDEL & HAYDN SOCIETY
“Since her striking Handel & Haydn debut in Mozart’s Coronation Mass last spring, soprano Teresa Wakim’s standing with this organization has advanced to the point where she has her own separate funding source anonymously credited in the program. She has her own separate voice too, a hall-filling instrument with the rounded pure sound of a flute stop on an organ, that sometimes makes it seem like her fellow soloists are conversing with the front rows. On Friday, Wakim’s brief solo contributions to the cantata and Magnificat were shapely and expressive; in ensembles, she tried to throttle back and blend in, with mixed success.”
Boston Classical Review, October 2012
“I was grateful as always to hear H&H’s secret weapons, soprano Teresa Wakim and alto Emily Marvosh. Wakim, of course, is a known quantity, and she was at the top of her game Friday, hitting the lustrously pearly notes she’s famous for with ease, first in Cantata 71 and later in the Magnificat.”
The Hub Review, October 2012
“Teresa Wakim’s rendition of the soprano part [in BWV 71] was the highlight, marked by lustrous phrasing and golden tone... As before, a clear, honeyed tone, beautiful phrasing, and a strong sense of the melodic line marked Ms. Wakim’s account of the aria “Quia respexit humilitatem.”
The Arts Fuse, October 2012
CONCERT WITH THE MONADNOCK STRING QUARTET
“...Wakim delivered with assurance and panache. Her intonation was solid, her articulation remarkably precise, and her ornamentation was dynamically subtle and brilliantly judged... this was first-rate Baroque singing.”
The Boston Musical Intelligencer, August 2012
ANGEL IN HONEGGER: KING DAVID WITH MASTERWORKS CHORALE
“Teresa Wakim’s soprano voice conveyed an angelic and deeply felt pureness in the concluding song “The Death of David” with its Bach chorale overtones.”
The Boston Musical Intelligencer, May 2012
HANNE IN HAYDN: THE SEASONS WITH BACK BAY CHORALE
“Soprano Wakim ushered in Spring by singing the praise of gentle breezes in her exceptionally clear, liquid voice, and for a time it seemed she would be relegated to dispensing sweetness and light for the whole evening. But eventually her character’s flirtation with Lukas, and telling a salty story by Winter’s fireside, gave her part more emotional range, which Wakim took full advantage of, vocally and dramatically. She also dispatched the occasional coloratura passage with lightness and ease.”
Boston Classical Review, May 2012
MOZART: CORONATION WITH THE HANDEL & HAYDN SOCIETY
“...glowing pearl of [her] tone, matched with crisp diction and a remarkably graceful agility (even in Mozart's fleetest passages) [Wakim] charmed the audience utterly... She was just as strong in the Coronation Mass... and was if anything more dazzling here than she had been earlier... Wakim took the audience laurels at this particular concert...”
The Hub Review, May 2012
“Handel’s ‘Arrival of the Queen of Sheba’ from Solomon produced an airy and pleasant tone that was soon intensified by the first performance of stunning soprano Wakim performing Mozart’s ‘Exsultate Jubilate’.”
The Fenway News Online, May 2012
“With commanding stage presence, soprano Teresa Wakim, in her Handel and Haydn Society debut, sang the jewel, Alleluia of “Exsultate, Jubilate, K. 165” in a ravishing, pure-toned, crystal clear, lyric voice... Wakim’s florid coloratura, effortlessly reaching high C, brilliantly expressed the aria’s virtuosity.... Mrs. Wakim’s transcendental aria, with her smoothly rounded, cuddly and luscious tone, exuded the purity, absolute accuracy of intonation, and great flexibility of a finely-tuned instrument. Responding to an enormous ovation, and with tears of emotion and joy, Ms. Wakim took the stage for four curtain calls. Her memorable and regal performance was indeed a coronation!”
Berkshire Review, April, 2012
“Soprano Wakim, who had sung admirably in the earlier motet and the Mass’s ensembles, was simply ravishing in the solo of the concluding Agnus Dei, drawing listeners into her exquisite pianissimos and turns of phrase, her pure tone sparingly touched with expressive vibrato. The audience rewarded this chorus-girl-turned-star with a warm ovation when she returned for her bow.”
Boston Classical Review, April 2012
VIVALDI: IN FURORE IUSTISSIME IRAE WITH SAN ANTONIO SYMPHONY
“Soprano Teresa Wakim excelled in the first of her three appearances with Vivaldi’s motet, RV626, titled “In furore iustissimae irae.” The work can be considered a concerto for voice. Wakim, with room to improvise, delivered an impassioned interpretation with her pure, ringing voice.”
San Antonio Express News, April 2012
“In Vivaldi’s solo cantata “In furore iustissimae irae,” soprano Teresa Wakim’s gleaming, agile instrument made thrilling leaps to the stratosphere, with all the high notes landing cleanly. Her ornamentation was enterprising but not excessive, fitting naturally into the contours of the music.”
Incident Light, April 2012
PAMINA IN MOZART: THE MAGIC FLUTE WITH APOLLO’S FIRE
“Soprano Teresa Wakim as Pamina has a perfect early-music voice, supporting her plangent arias with an architecture of sustained and astonishingly clear vocal line.”
Cleveland Classical, March 2012
“...soprano Teresa Wakim was luminous and expressive as Pamina.”
The Plain Dealer, March 2012
BACH: B MINOR MASS WITH THE AMSTERDAM BAROQUE ORCHESTRA
“Teresa Wakim was expressive and had a clean, ringing soprano that seemed to slice through the air.”
The Daily Tar Heel, March 2012
“Tenor Tilman Lichdi and soprano Teresa Wakim gave the most intense performances. Wakim’s pure white voice informed her arias with a silvery brilliance.”
Seen and Heard International, March 2012
“...her melodic flights were a delight to hear... her high exposed lines...were a marvel of perfect intonation and pure tone.”
New York Arts, March 2012
“Soprano Teresa Wakim displayed a cool, snow-pure tone at the heart of her range.”
New Jersey Star Ledger, March 2012
“In the ‘Christe’ duet... [Bogna] Bartosz’s voice blended with the soprano Teresa Wakim’s with the combination of sensuality and purity that is the paradoxical ideal in Bach’s sacred works.”
The New York Times, March 2012
ZIMA IN RAMEAU: LES INDES GALANTES WITH BOURBON BAROQUE
PRESS
“Teresa Wakim, soprano, stood out with her suppleness in all registers and pure tone.”
Arts Louisville, February 2012
‘GLORIA’; MOZART: CORONATION MASS WITH HANDEL & HAYDN SOCIETY
“Teresa Wakim’s clear soprano sounded beautifully above the other soloists,”
The Boston Musical Intelligencer, February 2012
HANDEL: MESSIAH WITH THE HANDEL CHOIR OF BALTIMORE
“Soprano Teresa Wakim offered a pearly tone and vivid ornamentation.”
The Baltimore Sun, December 2011
BACH: WEDDING CANTATA WITH THE CLEVELAND ORCHESTRA
“In her Severance Hall debut, Teresa Wakim handily captured the innocent, affectionate spirit of the text and treated the music to colorful, refined readings... her voice amply rewarded closer listening.”
The Plain Dealer, November 2011
LA CONVERSATION IN CHARPENTIER: LES PLAISIRS DE VERSAILLES WITH L’ACADEMIE
“Teresa Wakim’s boisterous interjections and sly timing earning laughs as the chatty Conversation..”
The Boston Musical Intelligencer, November 2011
RECORDING OF BRAHMS: EIN DEUTSCHES REQUEM WITH SERAPHIC FIRE
“Soprano Teresa Wakim possesses the luster needed for the angelic solo lines in ‘Ihr habt nun traurigkeit’.”
The Classical Review, October 2011
MENDELSSOHN: HEAR MY PRAYER WITH THE CLEVELAND ORCHESTRA
“Soprano Teresa Wakim, a graduate of the Oberlin Conservatory of Music, made her Cleveland debut with Mendelssohn’s ‘Hear my Prayer’... surpassing her peers elsewhere with a gorgeous, profoundly expressive instrument.”
The Plain Dealer, August 2011
“[Wakim’s] fresh voice and melting phrasing were among the highlights of this concert.”
Cleveland Classical, August 2011
FRENCH AIRS WITH L’ACADEMIE
“The soprano Teresa Wakim sang expressively and beautifully, with just a hint of gesture. She showed considerable dramatic range, from the comic (“Aux langeurs d’Apollon” from Platée) to the tragic (“Tristes apprêts” from Castor et Pollux.)”
Early Music America, Fall 2011
GALATEA IN HANDEL: ACIS & GALATEA WITH THE BOSTON EARLY MUSIC FESTIVAL
“As the Duchess (Galatea), Teresa Wakim galvanized the ensemble with her precocious, energetic singing. She displayed unusual stylistic gifts, blending uncannily well with string and wind instruments, as well as investing even the most fleeting musical phrases with a sparkle of idealism.”
Opera News, 2011
“Mr. Sheehan and Teresa Wakim were terrific in the title roles. Ms. Wakim, in particular, sang with extraordinary suppleness and beauty,”
The New York Times, June 2011
“Teresa Wakim’s voice was warm and rich, and flexible enough to render the subtlest inflections and most brilliant ornamentation.”
The Berkshire Review, June 2011
“Soprano Teresa Wakim sang magnificently with an intelligent interpretation of the dramatic situation that supported her startling displays of vocal technique... Wakim and Sheehan’s performances reached their height when they sang together, as in the sparkling duet ‘Happy We’ that ended the first act.”
The Boston Musical Intelligencer, June 2011
“Teresa Wakim’s voice was particularly lovely in Galatea’s aria ‘As When the Dove Laments Her Love.’ She exhibited a high range that was crisp and clear.”
The Kansas City Star, April 2011
“Teresa Wakim’s soprano... was lush and filled with subtlety.”
Kansas City Independent, April 2011
“Teresa Wakim’s sea-nymph Galatea was charm personified.”
The Vancouver Sun, March 2011
“Teresa Wakim[‘s] buttery, perfectly integrated soprano was a joy to hear throughout the evening, and her phrasing and diction were impeccable (not to mention the fact that she looked truly wonderful in her costume.)”
The Berkshire Review, December 2009
“Soprano Teresa Wakim was an ethereal Galatea, her soft-edged, open vowel timbre consistently lovely,”
The Boston Globe, November 2009
BRAHMS: EIN DEUTSCHES REQUIEM WITH SERAPHIC FIRE
“The soprano Teresa Wakim brought a radiant voice to Ihr habt nun Traurigkeit, words of comfort for mourners.”
The Miami Herald, June 2011
VENUS IN PURCELL: KING ARTHUR WITH SERAPHIC FIRE
“The pure, silvery beauty of Teresa Wakim’s Fairest Isle was a final vocal piece de la resistance.”
South Florida Classical Review, May 2011
DIANE IN RECORDING OF CHARPENTIER: ACTEON WITH THE BOSTON EARLY MUSIC FESTIVAL
“Teresa Wakim is clearly a Diane who brooks no nonsense...”
International Record Review, March 2011
“Teresa Wakim, as Diane... sings beautifully... Wakim again making a clear, vibrant contribution.”
Opera News, March 2011
“The surprised goddess (Teresa Wakim) and her nymphs... sang exquisitely.”
Classical Review, February 2011
BACH: CANTATA BWV 140 WACHET AUF WITH THE HANDEL & HAYDN SOCIETY
“Soprano Teresa Wakim and bass Nikolas Nackley brought a fine measured passion and diction to the familiar duet-dialogue between a Soul and Jesus...”
The Boston Globe, December 2010
“Probably the best vocal performances of the program, however, came from local star Teresa Wakim and bass Nikolas Nackley... Together they made a delicately moving duet of Bach’s “Dialogue between the Soul and Jesus.”
The Hub Review, December 2012
HANDEL: ALEXANDER’S FEAST WITH MASTERWORKS CHORALE
“Teresa Wakim has a bejeweled lyric soprano, with an exquisite top register and a delicate feeling for baroque phrasing.”
The Boston Globe, November 2010
MORGANA IN HANDEL: ALCINA WITH BOURBON BAROQUE
“I was especially taken with soprano Teresa Wakim’s lusty Morgana- who prattled around in a kind of comic daze.” Courier Journal, May 2010
NIGHT OF FRENCH CANTATAS WITH LES BOSTONADES
“I’m a huge fan of the vocal soloist of the evening, soprano Teresa Wakim. [She] was in superb voice, and sang with more full-throated passion than usual.”
The Hub Review, April 2010
ZEST FOR LOVE WITH THE HANDEL & HAYDN SOCIETY
“The highlight of the afternoon, for these ears, was Monteverdi’s ‘Lamento della Ninfa,’ another late piece, in which the soprano (Wakim) sings,”
The Boston Globe, February 2010
LEIPZIG: BAROQUE CANTATAS WITH EXSULTEMUS
“Wakim was her usual luminous self...”
The Hub Review, February 2010
“Soprano Teresa Wakim proclaimed her crunchy German text with aplomb,”
The Boston Musical Intelligencer, February 2010
LA MORTE DI LUCREZIA WITH LES BOSTONADES
“The generous, voluptuous sound of soprano Teresa Wakim in the rich acoustic of Emmanuel Church’s Lindsay Chapel contributed to the poignancy of emotion...”
Early Music America, 2009
DIANE IN CHARPENTIER: ACTEON WITH THE BOSTON EARLY MUSIC FESTIVAL
“Aaron Sheehan and Teresa Wakim sang ably and sympathetically as the hapless Actéon and the outraged Diana.”
The New York Times, June 2009
“As Actéon’s Diane... Teresa Wakim was divinely, casually wrathful.”
Boston Herald, December 2008
PORTRAIT OF A MOTHER WITH SERAPHIC FIRE
“Teresa Wakim’s refined soprano showed power in reserve with her stratospheric top notes...Wakim’s bell-like tone fit the lilting lines of Vivaldi’s ‘Nulla in mondo pax sincera’ like a glove.”
Miami Herald, April 2009
“...Wakim sang with heft and ease throughout... she has a large, full voice that is even across it’s registers.”
Palm Beach Artspaper, April 2009
QUEEN OF PEACE WITH POLYMNIA CHORAL SOCIETY
“Soprano Teresa Wakim brought added interest with a voice of lambent beauty, no weakness in her range, and full expression of her two solo parts,”
Melrose Free Press, April 2009
LISBETH IN MENDELSSOHN: SON & STRANGER WITH MASTERWORKS CHORALE
“Teresa Wakim’s soprano created the perfect virginal ingénue for Hermann’s future bride Lisbeth.”
The Boston Musical Intelligencer, March 2009
PURCELL: DIOCLESIAN WITH THE HANDEL & HAYDN SOCIETY
“...the melodies, as so often in Purcell, somehow transcended genre and historical period- beginning with the opening invocation, here sung with soaring authority by Teresa Wakim.”
The Hub Review, March 2009
BACH: MAGNIFICAT WITH THE HANDEL & HAYDN SOCIETY
“Soprano Teresa showed herself as a promising soloist on ‘Quia respexit.’ Her bloomy and beautiful singing was a lesson in chiaroscuro,”
The Patriot Ledger, December 2008
BELINDA IN PURCELL: DIDO AND AENEAS WITH SERAPHIC FIRE
“Teresa Wakim’s Belinda was on the same level as the two principals, the soprano showing herself a fine baroque stylist, and moving with grace and ease on stage.”
Miami Herald, September 2007
FLORE IN LULLY: PSYCHE WITH THE BOSTON EARLY MUSIC FESTIVAL
“BEMF also fielded a solid cast of singers, many of them quite young... Standouts included Teresa Wakim,”
Wall Street Journal, June 2007
IN RECITAL WITH AMPHION’S LYRE
“The soprano, Teresa Wakim, capitalized beautifully on Strozzi’s madrigalisms in ‘Salve Regina’, especially on words like ‘misericordiae’, ‘lacrimarum’, and ‘gementes et flentes’.”
Goldberg Magazine, vol 36, 2005