Ms. Palmour in Review
Reviews of Singing:
In the Title Role of Salome, Orlando Opera
“The biggest plus for this production is the strong cast. The five leading roles are all sung by strong voices that are well-suited to the demands of this opera. … In the title role, Deidra Palmour more than met the contradictory demands of a Wagnerian voice in the body of an adolescent. Physically, Palmour was a bit self-conscious in her initial stage movements, but by the end she had become first an annoying teenager demanding payment for her dancing and then a frighteningly psychotic princess reveling in her grotesque prize. Vocally, Palmour also seemed to open up in the latter half of the performance. Presumably she saved her voice for the demanding finale, which was quite well-done. There was a nice depth to Palmour’s sound all the way to the top of her register, and she was easily heard over the big orchestra in the closing moments.”
Scott Warfield, Orlando Sentinel
As Chrysothemis (Elektra), Long Beach Opera
“[T]he exalted glory of the female voice … makes this opera’s horror so appallingly appealing. … Deidra Palmour stunningly fleshes out the pert Chrysothemis’ sensuality, her voluptuous yet silvery soprano rising to thrilling climax at the opera’s end.”
Mark Swed, The Los Angeles Times
“Long Beach Opera has a golden touch when it comes to updating the classics, and the company’s recent production of Strauss’s masterpiece…must be added to a lengthening list of astonishing successes. … LBO’s biggest surprises, however, came in the form of three brilliant leading ladies – soprano Susan Marie Pierson (Elektra), soprano Deidra Palmour (Chrysothemis) and mezzo Kathryn Day (Klytemnestra). … Singing in well-enunciated English…, the leading women met all of Strauss’s soaring vocal challenges while superbly realizing their contemporary personae….”
David Gregson, Opera News
- As Angelina (La Cenerentola), Opera Roanoke
“…La Cenerentola is now second only to “The Barber of Seville” in the number of stagings it gets. You’ll understand why when you hear … Deidra Palmour tackle the florid bel canto vocal ornaments in Roanoke College’s Olin Hall Theatre… .Her gorgeous, buttery mezzo has a dark, sexy low range, a crystalline high end, and she has all the technique she needs to make Rossini’s difficult vocal curliques sound easy. Furthermore, she’s a good actress and is easily one of the most beautiful leading ladies at Opera Roanoke in years. Do yourself a favor and see this show, if only to save yourself a trip to New York City or Chicago to see the likes of this singer.”
Seth Williamson, The Roanoke Times
As Rosina (Il barbiere di Siviglia):
- Austin Lyric Opera
“Deidra Palmour’s Rosina is sweetly coquettish…Her aria ‘ Una voce poco fa’ was luscious.”
Jerry Young, The Austin American-Statesman
“For sheer playfulness, no one could match Deidra Palmour; her Rosina was a showgirl, making every reaction its own show. Rolling her eyes, cooing, flirting, smirking, pouting, Palmour gave them all an adolescent fervor, and they provoked giddy glee.”
Robert Faires, The Austin Chronicle
“As Rosina, mezzo-soprano Deidra Palmour sang with gloss, vivacity and gleaming highs. Rosina is a savvy young woman, not an ingenue, and Palmour underscored that point with vocal coolness and mature control.”
Mike Greenberg, The Expess News
- Syracuse Opera/Greater Buffalo Opera
“Deidra Palmour’s prankish Rosina developed into a real woman, her well-projected, even mezzo rich below the staff.”
E. Thomas Glasow, Opera News
“Deidra Palmour…is a major discovery. She is loaded with personality, good looks, and a handsome voice of good size. She negotiated the difficult runs with ease, and turned in a dramatic portrayal that was a constant delight.”
Larry McGinn, The Post-Standard
“Deidra Palmour was an audience favorite, and rightfully so. Her Rosina, high-spirited in its girlish fun, was richly mature in its refined sound and impressive technical accomplishment.”
Earl George, Syracuse Herald-Journal
“Deidra Palmour’s delightfully finely sung, girlish Rosina…brought things back to life in Act II.”
William D. West, Opera Canada
As Cherubino (Le nozze di Figaro), Washington Summer Opera
“Deidra Palmour, who acted with a sure sense of timing, made a vocally spectacular Cherubino.”
Sorab Mori, Opera News
“In many ways, the most memorable performance was that of mezzo-soprano Deidra Palmour, who is irresistibly comic and vocally spectacular in the trouser role of the testosterone-driven young page Cherubino.”
Joseph McLellan, The Washington Post
As Dorabella (Così fan tutte)
- Calgary Opera
“Not just a fine comedian, Palmour was in top vocal form, blending well with Kolomyjec and rising to the challenge of Smanie implacable [sic], to name only her most testing showpiece, with all the necessary warmth and agility.”
Eric Dawson, Calgary Herald
- Washington Opera
“Palmour, as splendid vocally as she is to watch on stage, is a major talent who is in the process of being discovered…Remember her name.”
Scott Duncan, The Baltimore Sun
“Also making her Washington Opera debut, in the first of three roles she will sing here this season, mezzo-soprano Deidra Palmour sang her big aria ‘Smanie implacabili’ powerfully and acted convincingly. Her performance was especially notable for its smooth coordination with Holleque’s, vocally and dramatically — a key point in this opera.”
Joseph McLellan, The Washington Post
“Deidra Palmour as Dorabella had complete mastery of this challenging music.”
Vera Tilson, The Georgetowner
“Mezzo Deidra Palmour, who sounds more like a soprano, sang Dorabella with aplomb and proved a neat actress.”
Charles Jahant, Opera News
“As Dorabella, Deidra Palmour does beautifully…she was as fine a Dorabella as you’ll find.”
Fred Calland, “Opera, Etc.” WETA Radio
“Deidra Palmour’s more vocally finished Dorabella was haughty, making her ‘Smanie implacabili’ a definite highlight.”
Gordon Sparber, The Laurel Leader
Reviews of Guilford Trio:
Reviews of Productions: