Read the Reviews!
"Once again, soprano Beth Hagerman proves why she's one to watch on the scene here in Toronto. Her Michaela was devastating and her ability to keep the stress-level up that high was something to see. Her voice, flawless as always, is a stellar match for the surprisingly huge sing that is Michaela. When singing of the loss her kids felt with their father's disappearance, she dug into the flesh of your feelings and refused to let you go. It was a great thing to watch. I love when a singer is really good at dealing with the audience being very close to them, and Hagerman loves the crowd and you can tell, whether she interacts with them directly or not."
(Greg Finney, Schmopera)
" I have to say that some of the most astounding singing of the night came from soprano Beth Hagerman. In her first foray, a piece entitled Dark Star Requiem... we heard Hagerman bring us "Beautymark Aria" in which she plays a sultry personification of HIV. Her exquisite diction was key to presenting such a sensual description of symptoms from inside out. It was chilling...."
"Soprano Beth Hagerman was a standout artist of the night, particuarly in the "Beautymark Aria", from Dark Star Requiem by Jill Battson and Andrew Staniland, with Evelina Soulis at the piano; the aria is sung by a personification of the HIV virus, and it's a terrifying thing to watch. Hagerman showed maturity and skill with this scene, and her full, thrilling voice suggests we'll hear more from her in seasons to come."
(Greg Finney and Jenna Douglas, Schmopera)
"Beth Hagerman reinforced her reputation as one to watch with an extract from Dark Star Requiem (Andrew Staniland) and in duet with William Ford in the disturbing Rosa by James Rolfe. Both these singers have big, bold voices..."
(John Gilkes, Opera Ramblings)
"As Dissociative Me’s resident soubrette, soprano Beth Hagerman essentially steals the show. Wide-eyed and wholesome on first impression, the recent Glenn Gould School fellowship winner fearlessly mines the dark, subterranean depths of her role extracting a troubled portrait of goodness bathed in corruption. Hagerman’s lovely rendition of Gounod’s exquisite showstopper, the Jewel Song, Ah! Je ris de me voir si belle (“Oh, it makes me laugh to see myself so beautiful”) credibly rephrased here to They look as if they’re made for me! is simply gorgeous, lovingly tinted with coloratura." (Ian Ritchie, Opera Going Toronto)
"The standout for me on this one has to be soprano Beth Hagerman. Her Maggie was probably the best singing of the night and some of the best I've heard from her. A clear, strong lyric with a wonderful bloom in her upper register, she is one to watch! Her acting is also on point. She rose to the challenge of Maggie's character arc easily, and her Act III opening aria was breathtaking." (Greg Finney, Schmopera)
"The voice that knocked the wind out of me belonged to Beth Hagerman, who played the innocent love-interest Magarita. Her character was simple and saccharine, but Hagerman is a powerhouse. Her singing was incredible." (Dana Ewachow, Mooney on Theatre)
"She’s a good actress with a biggish, fairly dramatic voice too." (John Gilks, Opera Ramblings)
"There is much to love here, but the clear standouts were lyric-soprano Beth Hagerman as Margarita and tenor Johnathan Kirby as her brother Stephan. Both sang with mega-watt voices and charisma to match." (Michael Vincent, Musical Toronto)
"Beth Hagerman, as Rosalinde, [was] perfectly cast and hammed it up deliciously. More importantly, [her] singing was superb." (Daphna Levit, Opera Canada, Fall 2014)
"The audience was delighted with this new young talent, Beth Hagerman, a name to remember because I'm sure we will hear of her again and again. She has the gift of an enormous voice which filled the church with great beauty." (Barbara McCann, The Barrie Examiner, Oct. 3, 2014)
"Soprano Beth Hagerman soared in the role of the consumptive Mimi, holding her own with Mauro's dashing Rodolfo." (Kate Watson, The Coast)
"Beth Hagerman was a spectacular Antonia, who executed her beautiful arias gloriously." (Daphna Levit, Opera Canada, Winter 2011)