As Abigaille in Nabucco with Sarasota Opera:

Rochelle Bard was an intimidating Abigaille with her powerful vocal range and her mastery of character.

-Broadway World by Carolan Trbovich

 

Relating such happenings demands a production with a large cast, large voices and strong support from the orchestra pit.

Happily, all of these came together in an all-out performance led by the strong and exciting voices of Rochelle Bard as Abigaille,

the “false” princess, Stephen Gaertner as Nabucco, and Kevin Short as Zaccaria, High Priest of the Hebrews.

The role of Abigaille is demanding on any singer, yet Bard deftly handled every facet, her voice soaring over orchestra and chorus.

     -Your Observer by Edward Alley

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While Fenena is a critical role for the action, the better musical opportunities are given to Abigaille. She is sung by soprano Rochelle Bard, whose high voice ably navigates the coloratura demands yet achieves a threatening edge in the lower range, which is where she spends her time with vengeance. Her “Anch’io dischiuso un giorno" and “Salgo già del trono aurat are a real tour de force both musically and dramatically. She is a fine actor spanning the range from love, vengeance and death by poison before the curtain fell.

-Herald Tribune by Gayle Williams

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As the title role in Tosca with Opera Theater of Connecticut

Leaving the best for last was the gorgeous Rochelle Bard as the tempestuous diva Tosca.

She has a ferocious high C, and she catapulted all five of them like javelins into the hall,

and her "Vissi d'arte"was simply exquisite, with the diminuendo ending that revealed a rock solid technique.

 

As the title role in Maria Stuarda with Knoxville Opera:

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As the title role in Maria Stuarda, ‘Bard’s performance exemplified the gentle nuance and outward clarity of a heroine in true bel canto style, while reserving startling power and strength for the inevitable conflict. Although Bard’s performances have impressed in the past, this performance revealed a leading lyrical edge to her voice that is not only gorgeously crystalline but also has stunning depth. In her confrontation scene with Elizabeth, Bard’s dramatic power emerged in the conclusion of Act I as she hurls a “vil bastarda” at Elizabeth

as if it were a dagger.’

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As soloist with Knoxville Opera for their 40th Anniversary Gala Concert:

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...Of course, Bard, Daniel, and Bearden were seen and heard last spring in Donizetti’s Maria Stuarda (Mary Queen of Scots)—and the evening concluded with the infamous and heated Confrontation Scene from that opera. Before that, though, came a smorgasbord of works, carefully chosen to showcase the singers, as well as to delight the audience with both the familiar and the less so. In the rare category came “Esprits de l’air” from Massenet’s Esclarmonde, featuring Ms. Bard and Ms. Daniel.

Bard and Daniel were stunning in “Alle più care immagini” from Rossini’s Semiramide, and each had individual arias...Ms. Bard in an exquisitely gorgeous “Io son l’umile ancella” from Francesco Cilèa’s Adrianna Lecouvreur. Also a highlight among highlights was Bard, Daniel, and Short in “Oh! Di qual sei tu vittima” from Bellini’s Norma, a work KO performed in 2014

with Bard in the title role.

On the off-chance that any of the audience left the Bijou unsure of the amazing evening they had witnessed, I can relate the words of a certain tuxedo-clad gentleman who grabbed my arm and proclaimed “Now THAT was an ‘eff-ing’ great concert!”

Indeed.

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