Press

Very Verdi & Wildly Wagner (Soloist)

"Clea Huston, mezzo-soprano, performed selections from (Verdi's) “Rigoletto” and “Il Trovatore.” Baum and (Clea) Huston stood out (and)... lived up to and exceeded the quality and range one expected from them… (and) also had individual wit, style and polish…perform(ing) a challenging range of musical selections."

~ The Pueblo Chieftain



The Tender Land (Mrs. Splinters)

“…a sweet sentimental ballad, sung in liquid tone with Clea Nemetz as Mrs.  Splinters…”

~Bruce-Michael Gelbert, QOnStage.com; New York’s Performances & Arts Reviews



The Rape of Lucretia (Lucretia)

“Each of the mezzo-sopranos in the title role brings her own perspective to the violated woman...  Clea Nemetz (today/Saturday) presents a more grandly tragic figure.”

~Kelly Dean Hanson, Boulder Daily Camera



Semele (Juno)

“Clea Nemetz, professional and polished, is sinister comic relief as Jupiter’s vengeful wife, Juno...”

~Kelly Dean Hansen, Boulder Daily Camera



Davidde Penitente (Soloist)

“...and mezzo Clea Nemetz sang with formidable virtuosity over a wide range...”

~Richard Dyer, The Boston Globe



L'Enfant et les Sortilèges (The Mother) & Gianni Schicchi (Zita)

“Some of CU Opera’s most familiar faces appear in both ‘L’Enfant’ and ‘Schicchi'." Soprano Sara Gartland and mezzo Clea Nemetz, who have major roles in ‘Schicchi,’ are basically cameos in ‘L’Enfant...  Other notable performances include Nemetz as the comically serious family matron...”

~Kelly Dean Hansen, Boulder Daily Camera



La Cenerentola (Cinderella)

"But the star of the show is Clea Nemetz.  Her Cenerentola traverses the growth from shy kitchen maid to mature and commanding dispenser of justice with a warmth that is always believable, and her mezzo-soprano voice is nothing less than spectacular in its power, agility, and beauty."

~Norman Rabkin, San Francisco Classical Voice



Colorado MahlerFest (Soloist)

"What redeemed the evening was pianist Mutsumi Moteki's superbly refined accompaniment, and Clea Nemetz's polished and clearly projected mezzo-soprano."

~Sabine Kortals, DenverPost.com



Dialogues of the Carmelites (Mère Marie)

"… Clea Nemetz, whose portrayal of the noble but flawed Mother Marie, the assistant prioress, is sensitive and nuanced."

~Kelly Hansen, Boulder Daily Camera



Little Women (Jo)

"This opera is potentially a star vehicle for Jo, sung powerfully here by Clea Nemetz, a performer with many gifts... The role is driven mainly through acting, and Nemetz managed well the transformation of the character from child to woman... Nemetz has the right voice and body for this part..."

~Barbara Baker, San Francisco Classical Voice



Samson (Dalila)

"The Dalila, mezzo-soprano Clea Nemetz, just out of the MA program at New England Conservatory, has a much riper...voice."

~Lloyd Schwartz, The Phoenix.com Music



Samson (Dalila)

"... Nemetz has a lustrous mezzo tone, with easy top notes..."

~Richard Dyer, The Boston Globe



The Rape of Lucretia (Bianca)

"Clea Nemetz sang the nurse with opulent tones."

~Richard Dyer, The Boston Globe