Mozart’s
Die Zauberflöte
Bühnen Bern
PAMINA
“Der Sopran von Patricia Westley, ebenfalls neu im Ensemble der Oper Bühnen Bern, passt mit seiner klaren jugendlichen Frische ideal.”
"Patricia Jane Westley gibt eine tadellose Pamina.”
-Jan Krobot/Zürich
Online Merker
Bellini’s
I Capuleti e i Montecchi
Palm Beach Opera
GIULIETTA
“As Giulietta, soprano Patricia Westley, played her role with a sense of innocence and vocal finesse; her delicate instrument displayed a variety of colors and her phrasing was exquisite.”
-Márcio Bezerra
Palm Beach Daily News
Mendelssohn’s
Lobgesang
Charlotte Symphony Orchestra
Soprano I Soloist
“Soprano Patricia Westley brought shimmering high notes to her utterances of joy.”
-Lawrence Toppman
WDAV Classical Public Radio
Liederabend
Palm Beach Opera
Richard Strauss & Joseph Marx
“Patricia Westley with experience in the famous Merola program of San Francisco Opera, sang Strauss’s “Ständchen” and “Pierrot Dandy” of the Austrian composer Joseph Marx to Leletkina’s brilliant accompaniment. Westley’s silken sounds lofted through the air with delicate precision in her first song and full-throated, dramatic feeling in the second.”
-Rex Hearn
Palm Beach Arts Paper
Mozart’s
IL RE PASTORE
Merola Opera Program
ELISA
“Patricia Westley was, in fact, the star of this show. Singing with a bright, bell-like tone, Patricia Westley depicted Elisa as a flirtatious lass.
Singing like a spitfire, Elisa berates Agenore and literally ties him up and gags him with a handkerchief over his mouth. As Elisa, Patricia Westley really did herself proud. She was outstanding!”
-James Roy MacBean,
Berkeley Daily Planet
“Playing Elisa as a drama queen, Westley garnered quite a few laughs from viewers while at the same time holding her own in the challenging vocals.”
-Ryan Tuozzolo
The Daily Californian
“Soprano Patricia Westley’s Elisa looked a confection in her pink A-line dresses and sang bright streams of bubbly coloratura. Her mischievous energy onstage was infectious. This Elisa knew what she wanted, and woe to anyone who got in her way!”
-Ilana Walder-Biesanz,
San Francisco Classical Voice
“Soprano Patricia Westley tackled the role Elisa with bravado. With her bright pink dress, you couldn’t miss her every time she was on stage.”
-Michael Anthonio
Parterre Box
SCHWABACHER RECITAL with MARTIN KATZ
San Francisco Opera Center
Wolf Mörike Lieder
Barber Hermit Songs
Brahms Deutsche Volkslieder
“From the substantial Wolf song “To an Aeolian Harp,” with its “lovely cry ... sweet terror ... and sudden stirring of the soul,” through Wolf’s rapturous “Insatiable Love” and “Song of the Wind,” Westley sang with the right projection (in the Atrium where even Katz’s knowing accompaniment couldn’t prevent an erroneous balance, the piano often stepping on vocal lines), fine diction, and the kind of presence rarely exhibited by young artists.”
-Janos Gereben, San Francisco Classical Voice
“Soprano Patricia Westley brought fluency and tonal grace”
-Joshua Kosman, San Francisco Chronicle
“The variable for the recital was the cancelation by the originally scheduled soprano just 10 days before the event…and Westley came to the rescue. Were the listener unaware of the situation, the soprano’s performance would have received high marks; given the limited time to prepare for semi-staged performances of lieder without a score, Westley was most impressive.”
-Janos Gereben, San Francisco Classical Voice
MEROLA GRAND FINALE
2018 & 2019
AMINA La sonnambula
NANNETTA Falstaff
“Patricia Westley demonstrated exemplary bel canto in “Care compagne ... Come per me sereno” from Bellini’s La Sonnambula.’’
-Janos Gereben, San Francisco Classical Voice
“Soprano Patricia Westley shone as Nanetta in Verdi’s “Falstaff”
-Leslie Katz, San Francisco Examiner
”Lighter, agile, beautiful voices came from soprano Patricia Westley as Nannetta in a magical scene from Verdi’s Falstaff.”
-Janos Gereben, San Francisco Classical Voice
LAMPLIGHTERS MUSIC THEATRE
AMIAM (Yum-Yum) The “New” Mikado
ELSIE The Yeomen of the Guard
CASILDA The Gondoliers
“Vocal honors go to Patricia Westley’s radiant Amiam. She mines the considerable humor in her dialogue and delivers “The sun whose rays” with a perfect balance of lyricism and textual clarity”
-Joanne Sydney Lessner, Opera News
“Sunday’s matinee performance was mostly notable for the superb debut of soprano Patricia Westley. It can be easy to forget that Sullivan’s vocal writing is truly operatic in nature until you hear two hugely impressive artists deliver it with such precision and grace.”
-Joshua Kosman, The San Francisco Chronicle
SACRAMENTO
CHORAL SOCIETY
SOLOIST
Mozart’s Litaniae de venerabili altaris Sacramento
Arvo Pärt’s Berliner Messe
“Soprano Patricia Westley was a highlight of the evening. She sang several solos in both the Pärt and Mozart’s Litaniae de venerabili altaris Sacramento, effortlessly, exercising control and clarity in the note-heavy passages and showing exceptional virtuosity in the lyrical moments. Her expressiveness was well-received by the audience and, judging by her own reaction, she knew it as well.”
-Jonathan Minnick, San Francisco Classical Voice
Die Fledermaus
Pocket Opera
ADELE
“Lively and clear-voiced in both song and spoken drama. As Adele the chambermaid, Patricia Westley sang her daunting high soprano roulades (especially her famous “Laughing Song” in Act II) with assurance and verve, combining musical and comedic talents.”
-Nicholas Jones, San Francisco Classical Voice
Jake Heggie’s
IF I WERE YOU
Merola Opera Program
SELENA (World Premiere)
“In yet another accomplishment of creating something out of almost nothing, soprano Patricia Westley made the bland character of Selena come alive, conquering also with a rich, beautifully modulated voice.“
-Janos Gereben, Classical Voice America