JULY 2017
WHOSE OPERA IS IT ANYWAYS?!
Canada’s Only Opera Improv Team
Loose TEA Music Theatre

“[…] highlights […] a send up of a contemporary opera about brushing one’s teeth that featured extended toothy vocals from Adanya Dunn and brilliantly robotic invocations of toothpaste brands from Amanda Cogan.  Adanya (“I’m fluent in Italian”) Dunn also featured in an excruciating send up of a diva masterclass with unfortunate consequences for the much put upon Lindsay Sutherland-Boal as the student.”
– John Gilks, OPERA RAMBLINGS

“Soprano Adanya Dunn had our hearts with her recitation – artfully sung, naturally – of the recent text messages in one audience member’s phone (including a live video reply to keep things spicy). Whose Opera is it Anyway isn’t something that just any opera singer could do […]”
– Jenna Douglas, SCHMOPERA

JUNE 2017
CHARLOTTE: A Tri-Coloured Play with Music
Role: Charlotte Salomon
Co-Production with Theaturtle & The Luminato Festival, Toronto

“I’m confident that Salomon would have joyfully recognised herself in Adanya Dunn’s candid, open, funny Charlotte (her youthful soprano deliciously clear).”
– Judi Herman, JEWISH RENAISSANCE

MAY / JUNE 2017
LA BOHÈME | Musetta
Puccini’s classic opera || set in modern day Toronto ||
At Toronto’s classic dive bar The Tranzac Club
Updated English libretto “transladaptation” by Joel Ivany, Against the Grain Theatre 

“Adanya Dunn as Musetta, tears a broad swath through AtG’s La Bohème, strutting and vamping with reckless abandon, her sultry soprano red hot and alluring, a dangerous woman, wilful and self-centred. And an absolute delight. Dunn clearly loves this character as much as the audience. Her all-conquering stage turn in Ivany’s tumultuous Act II bar scene is nothing short of a master class in histrionics. It is her genuinely heartfelt prayer for Mimi in Act IV, however, that reveals the true depth of Dunn’s dramatic presence. “Oh, God! How’s this happening?”, she gasps. “She still had so much to give!” An exquisite moment of high drama delivered with potent, focused parlando.
– Ian Ritchie,
OPERA GOING TORONTO

“Speaking of playing against type, Adanya Dunn the Sexed-Up Version (Musetta) was the second revelation of the evening. There was some pretty serious action on the bar counter after the “Quando m’en vo” and that’s after she’s made her seduction tour of the chosen people in the audience and the extras (including kissing one woman, and rubbing against the back of the music director Topher Mokrzewski at the piano).”
– Lydia Perovic, DEFINITELY THE OPERA

“Adanya Dunn is charismatic as the flirtatious Musetta” [4/4 stars!] – Glenn Sumi, NOW MAGAZINE TORONTO 

“Adanya Dunn was a properly flirty Musetta, looking fabulous and acting up a storm, with just the ideal bright tone for the role.  Act Two belongs to Musetta, and Dunn took full advantage, singing a seductive Waltz and serving up some outrageous “footwork” to her Alcindoro […].” – Joseph So, MUSICAL TORONTO

“Adanya Dunn was a total riot as Musetta.”
– Jenna Douglas, SCHMOPERA

Adanya Dunn sang Musetta.  Now I’ve seen quite a lot of Adanya (though not quite as much as I saw last night) but it’s always been in highly technical, mostly modern, concert rep or in new opera.  So it was quite a revelation to see her singing much more “accessible” music and playing a very exuberant, sexy and, at times downright catty Musetta.  She was very good and very “physical”.  (I wish I could say that the back bar in the Tranzac has never seen anything quite like Adanya and Andrew’s antics last night but that wouldn’t be true).” – John Gilks, OPERA RAMBLINGS

 

MARCH 2017
TORONTO INTERNATIONAL FILM FESTIVAL
Live Pre-Performance to Moses und Aaron (Schoenberg) Film Screening

“There was a sort of mini Schoenberg Fest at the TIFF Lightbox yesterday.  First up we got Topher Mokrzewski and Adanya Dunn with Claude Vivier’s Hymnen an die Nacht and five pieces from Schoenberg’s Pierrot Lunaire.  The Vivier was a very apt choice; a piece of CanCon in the spirit of the Schoenberg. […] and Adanya, in my opinion, is at her considerable best in music of this type.” – John Gilks, OPERA RAMBLINGS

“And what of TIFF’s experiment, combining live singers with film? I’d say it’s a qualified success.  I suspect the thought was to give us an entry into the austere style of the composer.  The irony is that what Dunn & Mokrzewski did was a great deal more authentic and true to the style than what we heard in the film […] Dunn and Mokrzewski were wonderful together [… and …] what [they] accomplished was remarkable.” – Leslie Barcza, BARCZA BLOG

 

JANUARY 2017
ACROSS THE CHANNEL
Canadian Opera Company’s Richard Bradshaw Amphitheatre Concert Series,
Four Seasons Centre for the Performing Arts

“Three of the Royal Conservatory’s Rebanks Fellows were singing with Helen Becqué at the piano […]. It kicked off with sopranos Ellen McAteer and Adanya Dunn singing three of the Mendelssohn duets Op. 63.  This is light lieder territory but it was interesting and fun to hear two rather different lyric sopranos blending rather nicely. Adanya then performed three Liszt songs to texts by Heine; Ihr Glocken von Marling, Im Rhein, in schonen Strome and Die Loreley.  This was High Romanticism indeed.  The first and second numbers have a kind of limpid beauty that Adanya made the most of.  The third is much more dramatic, especially, in the piano part but also has some reflective passages.  It’s very much story telling and, again, it was nicely done.” – John Gilks, OPERA RAMBLINGS

 

DECEMBER 2016
LINEAGE: The Happenstance Series 
Heliconian Hall, Toronto

It rarely happens that a recital series strikes excellence in programming from the word go, but the group of musicians that include soprano Adanya Dunn, clarinetist Brad Cherwin, Alice Hwang at the piano and visiting musicians […]. Dunn sang expressively […] A brief “Gebet an Pierrot” (1912) from Schoenberg’s much heftier Pierrot lunaire cycle followed, in the piano-soprano version. Dunn was immediately dramatic and gave a good idea of the mood of the entire piece. It was again a brief sample that left me wanting to hear more from where that came from. So: a superbly planned recital, with a rich banquet of textures and colours, most of which we rarely get to sample here in Toronto. I’ve been re-listening to the entire program on the Naxos Online Library, piece by piece, all morning. Next time these people throw a recital, run don’t walk.” – Lydia Perovic, DEFINITELY THE OPERA

NOVEMBER 2016
AYRE: An Evening of Osvaldo Golijov
Against the Grain Theatre
Aga Khan Museum at the Ismaili Centre, Toronto

“The members of the Glenn Gould Ensemble played all three with verve, passion and commitment. Sopranos Adanya Dunn and Ellen McAteer both inhabited the sweet, passionate world of Golijov’s writing for voice with real conviction.
– Robert Harris,
THE GLOBE & MAIL

Lúa Descolorida (“Moon, colorless”), a sad, wistful 19th century love poem written in archaic Galician dialect brightly sung by soloist Adanya Dunn with simple, shining grace, provides much-needed catharsis.”
– Ian Ritchie, OPERA GOING TORONTO


The second piece, titled
Lúa Descolorida featured the quartet and Adanya Dunn. Ms. Dunn first caught our attention in the University of Toronto Opera School production of Britten’s Albert Herring and hasn’t stopped since. […] While the interplay between vocals and strings was fantastic, it was still very much a vocal piece with string quartet.Dunn’s voice handled the extreme range and colours covered in the piece beautifully. […] you were so transfixed by the intimacy of the whole affair
– Gregory Finney, SCHMOPERA

“Adanya Dunn’s vibrant soprano voice joined the quartet for the dolorous Lúa Descolorida, reminiscent of Cantaloube’s Songs of the Auvergne, but with a Galician edge.”
– Paul Ennis, THE WHOLENOTE MAGAZINE

 

JULY 2016
Toronto Summer Music Festival
Artsong reGENERATION Concerts & Master Class

“First up was soprano Adanya Dunn with Helen Becqué at the piano, in five short Poulenc songs. These are essentially miniatures and recognisably Poulenc. Dunn has a first rate, lovely lyric soprano, with gleaming tone and hall-filling volume. These pieces are often taken by singers with smaller, lighter instrument, so it’s a refreshing change. She delivered these songs beautifully, with sensitivity and textual nuance. Later in the afternoon, she offered “Chevaux des bois” from Ariettes oubliées by Debussy, sung with a lovely sheen. She also gave us from Hugo Wolf’sSpanisches Liederbuch “In dem Schatten meiner Locken,” a rather coy, even sexy song – within the 19th-century context, that is!  Dunn delivered it with the feminine playfulness and whimsy.”
– Jospeh So, MUSICAL TORONTO

“Soprano Adanya Dunn opened with a stylish and witty account of five Poulenc songs of highly contrasted moods.  She showed excellent diction and sense of style and the musicianship that has marked her out in the contemporary repertoire.”
– John Gilks, OPERA RAMBLINGS

[Master Class with Craig Rutenberg]: “First up was soprano Adanya Dunn and pianist Helen Becqué with three short Poulenc songs. She has a naturally produced instrument with a very beautiful timbre, perhaps a bit darker and more substantial than most in these delicate Poulenc songs. Poulenc has a very distinctive melodic signature — I keep hearing Soeur Constance (usually sung by a light soprano) from Les dialogues des Carmélites in these songs!”
– Joseph So, MUSICAL TORONTO

 

 

JULY 2016
NO ONE’S SAFE | Rachel Marshall
The Banff Centre /
Against the Grain Theatre / COC
Walter Philips Gallery, Banff

“They sing from twenty feet and from three inches—distances that shame dramatic weaknesses and relax young voices. Standouts in the cast—the strongest Ivany has put together—were baritone Peter Rolfe Dauz as a jumpy embezzler and soprano Adanya Dunn in one of the few tragic parts, as a tormented and vengeful daughter.

[Dunn’s voice with] bassoon improvisation that turned out to be based on “Non so più.” […] it was more of a dramatic experiment than a musical one, and it sparkled.” – Lev Bratishenko, OPERA NEWS

DECEMBER 2015
A Winter Songfest
Sosnoff Theater, Fisher Center for Arts, NY

“Among the numerous wonderful performances of the students, standouts included: […] sopranos Adanya Dunn and Zoe Johnson lyrically performing the “Flower Duet” from Léo Delibes’ opera Lakmé.”
– Kevin T. McEneaney, THE MILLBROOK INDEPENDENT

 

DECEMBER 2015 | Full Production @ The Music Gallery
APRIL 2014 | Workshop Performance @ Ernest Balmer Studio
l’homme et le ciel
FAWN Chamber Creative

 

“Finally, soprano Adanya Dunn (and Fawn Opera collaborating artist) was awesome and powerful as the Messenger, filling the performance space with exciting sound. Her first sounds came from behind hanging, translucent panels that filled the stage, and the result gave me goosebumps.”
– Jenna Douglas, SCHMOPERA2014

“Rounding the cast out was Adanya Dunn as The Messenger. This is a role that requires a lot of physical acting, perhaps mirroring Hermas’ mental processes […] movement as well as singing was very well realized.”
– John Gilks, OPERA RAMBLINGS, 2015

“Adanya Dunn in the smaller role of The Messenger contributed to the sense of mystery, both in Hermas’s journey and in our own experience of the opera.” – Leslie Barcza, BARCZA BLOG, 2015

“[..] a strong presence.” – Leslie Barcza, BARCZA BLOG, 2014

“This performance featured […] soprano Adanya Dunn (also FAWN’s producer) as a heavenly vision […] impressive show of commitment to do justice to Scime’s piece after only a few day’s rehearsal.”
– Margaret Lam, BEMUSED NETWORK, 2014

 

JULY / AUGUST 2015
La Cenerentola | Clorinda
Music Academy of the West, California

 

“Perhaps the most striking aspect of the production was how fully and comfortably the young singers seemed to inhabit their roles, bringing a naturalness to their stage movements that is not always seen on the operatic stage. […] The energetic cast, most of them under the age of thirty, seemed remarkably adept at accomplishing both their musical and dramatic duties. Adanya Dunn and Deanna Pauletto, playing the stepsisters Clorinda and Tisbe, put in engaging performances throughout.” 
– Edmond Johnson, OPERA NEWS

Music Academy of the West Voice Program Director Marilyn Horne minced no words at a reception following two  performance of the opera last Thursday evening and Saturday afternoon at the Granada Theatre. “You knocked it out of the park,” she declared proudly to her charges about this first production of Cinderella in the nearly 70-year history of the Music Academy. […] A sturdy supporting cast of singing actors included Cinderella’s silly stepsisters Clorinda (soprano, Adanya Dunn) and Tisbe (mezzo, Deanna Pauletto).” – Daniel Kepl, CASA MAGAZINE

 

JANUARY 2015
The Song Continues: Marilyn Horne Master Class
Carnegie Hall, NYC

“Soprano Adanya Dunn took the stage with a wonderful relaxed stage presence and delighted the audience with her engaging personality.  Ms. Horne guided her through Britten’s “The Salley Gardens”, slowing the tempo and encouraging some sentimentality to good effect.  We truly enjoyed her storytelling in Liszt’s “Die Loreley”.  Shifts in dynamics and tempi made the performance even better.”
– Meche Kroop, VOCEDIMECHE

 

MARCH 2014
Albert Herring | Miss Wordsworth
University of Toronto Opera


“Adanya Dunn was 
spectacular as Miss Wordsworth; she gave what I thought was the best singing of the nightand she was just so teacheryBird-like and constantly multi-tasking, she made my night when she took back the pie she’d brought for Albert’s grieving mother in the final scene.”
– Jenna Douglas, SCHMOPERA


“Adanya Dunn displays a strong coloratura soprano in the role of the schoolteacher Miss Wordsworth, and she shows a great sense of comedy
in the scene where her pupils practice the welcome song for Albert.”
– Christopher Hoile,
STAGE DOOR & WHOLENOTE MAGAZINE

MARCH 2012
Northern Landscapes
Richard Bradshaw Amphitheatre Concert Series
Four Seasons for the Performing Arts, Toronto

“The second set, of songs by Kilpinen, came from an undergrad soprano called Adanya Dunn with Evan Mounce on piano.  This was a voice with a bit more character; darker in the middle with a clear top register.  She also had good German diction and could act […] A pair to watch.”
– John Gilks, OPERA RAMBLINGS

 

June 2011
The Light in the Piazza | Margaret Johnson
Opera NUOVA, Edmonton

“And Adanya Dunn’s Margaret — it is through her eyes that the story unfolds — is superb at scaling the full range of human emotion through voice and gesture.”
– Anna Borowiecki, ST. ALBERT GAZETTE

 

December 2000
Slavs! | Vodya Domik
The Tarragon Theatre, Toronto

“I should also mention Adanya Dunn, who plays the child so well and, in a daring move by the playwright, expertly delivers a speech in the Epilogue that basically summarizes the meaning of the play.”
– Christopher Hoile, STAGE DOOR


“[…] and that of a mother (Maria Vacratsis) losing her child (
played by the promising Adanya Dunn) to cancer caused by years of radiation exposure.”
– Kamal Al-Solaylee, EYE WEEKLY

 

PRESS

JULY 2017
WHOSE OPERA IS IT ANYWAYS?!
Canada’s Only Opera Improv Team
Loose TEA Music Theatre

“[…] highlights […] a send up of a contemporary opera about brushing one’s teeth that featured extended toothy vocals from Adanya Dunn and brilliantly robotic invocations of toothpaste brands from Amanda Cogan.  Adanya (“I’m fluent in Italian”) Dunn also featured in an excruciating send up of a diva masterclass with unfortunate consequences for the much put upon Lindsay Sutherland-Boal as the student.”
– John Gilks, OPERA RAMBLINGS


“Soprano Adanya Dunn had our hearts with her recitation – artfully sung, naturally – of the recent text messages in one audience member’s phone (including a live video reply to keep things spicy). 
Whose Opera is it Anyway isn’t something that just any opera singer could do […]” – Jenna Douglas, SCHMOPERA

JUNE 2017
CHARLOTTE: A Tri-Coloured Play with Music
Role: Charlotte Salomon
Co-Production with Theaturtle & The Luminato Festival, Toronto

“I’m confident that Salomon would have joyfully recognised herself in Adanya Dunn’s candid, open, funny Charlotte (her youthful soprano deliciously clear).”
– Judi Herman, JEWISH RENAISSANCE

MAY / JUNE 2017
LA BOHÈME | Musetta
Puccini’s classic opera || set in modern day Toronto ||
At Toronto’s classic dive bar The Tranzac Club
English libretto “transladaptation” by Joel Ivany
Against the Grain Theatre 

“Adanya Dunn was a properly flirty Musetta, looking fabulous and acting up a storm, with just the ideal bright tone for the role.  Act Two belongs to Musetta, and Dunn took full advantage, singing a seductive Waltz and serving up some outrageous “footwork” to her Alcindoro […].” – Joseph So, MUSICAL TORONTO

“Adanya Dunn as Musetta, tears a broad swath through AtG’s La Bohème, strutting and vamping with reckless abandon, her sultry soprano red hot and alluring, a dangerous woman, wilful and self-centred. And an absolute delight. Dunn clearly loves this character as much as the audience. Her all-conquering stage turn in Ivany’s tumultuous Act II bar scene is nothing short of a master class in histrionics. It is her genuinely heartfelt prayer for Mimi in Act IV, however, that reveals the true depth of Dunn’s dramatic presence. “Oh, God! How’s this happening?”, she gasps. “She still had so much to give!” An exquisite moment of high drama delivered with potent, focused parlando.” – Ian Ritchie, OPERA GOING TORONTO

“Speaking of playing against type, Adanya Dunn the Sexed-Up Version (Musetta) was the second revelation of the evening. There was some pretty serious action on the bar counter after the “Quando m’en vo” and that’s after she’s made her seduction tour of the chosen people in the audience and the extras (including kissing one woman, and rubbing against the back of the music director Topher Mokrzewski at the piano).” – Lydia Perovic, DEFINITELY THE OPERA

“Adanya Dunn is charismatic as the flirtatious Musetta” [4/4 stars!] – Glenn Sumi, NOW MAGAZINE TORONTO 

“Adanya Dunn was a total riot as Musetta.”
– Jenna Douglas, SCHMOPERA

Adanya Dunn sang Musetta.  Now I’ve seen quite a lot of Adanya (though not quite as much as I saw last night) but it’s always been in highly technical, mostly modern, concert rep or in new opera.  So it was quite a revelation to see her singing much more “accessible” music and playing a very exuberant, sexy and, at times downright catty Musetta.  She was very good and very “physical”.  (I wish I could say that the back bar in the Tranzac has never seen anything quite like Adanya and Andrew’s antics last night but that wouldn’t be true).” – John Gilks, OPERA RAMBLINGS

MARCH 2017
TORONTO INTERNATIONAL FILM FESTIVAL
Live Pre-Performance to Moses und Aaron (Schoenberg) Film Screening

“There was a sort of mini Schoenberg Fest at the TIFF Lightbox yesterday.  First up we got Topher Mokrzewski and Adanya Dunn with Claude Vivier’s Hymnen an die Nacht and five pieces from Schoenberg’s Pierrot Lunaire.  The Vivier was a very apt choice; a piece of CanCon in the spirit of the Schoenberg. […] and Adanya, in my opinion, is at her considerable best in music of this type.” – John Gilks, OPERA RAMBLINGS

“And what of TIFF’s experiment, combining live singers with film? I’d say it’s a qualified success.  I suspect the thought was to give us an entry into the austere style of the composer.  The irony is that what Dunn & Mokrzewski did was a great deal more authentic and true to the style than what we heard in the film […] Dunn and Mokrzewski were wonderful together [… and …] what [they] accomplished was remarkable.” Leslie Barcza, BARCZA BLOG

JANUARY 2017
ACROSS THE CHANNEL
Canadian Opera Company’s RBA Concert Series
Four Seasons Centre for the Performing Arts

“Three of the Royal Conservatory’s Rebanks Fellows were singing with Helen Becqué at the piano […]. It kicked off with sopranos Ellen McAteer and Adanya Dunn singing three of the Mendelssohn duets Op. 63.  This is light lieder territory but it was interesting and fun to hear two rather different lyric sopranos blending rather nicely. Adanya then performed three Liszt songs to texts by Heine; Ihr Glocken von Marling, Im Rhein, in schonen Strome and Die Loreley.  This was High Romanticism indeed.  The first and second numbers have a kind of limpid beauty that Adanya made the most of.  The third is much more dramatic, especially, in the piano part but also has some reflective passages.  It’s very much story telling and, again, it was nicely done.” – John Gilks, OPERA RAMBLINGS

DECEMBER 2016
LINEAGE: The Happenstance Series 
Heliconian Hall, Toronto

It rarely happens that a recital series strikes excellence in programming from the word go, but the group of musicians that includesoprano Adanya Dunn, clarinetist Brad Cherwin, Alice Hwang at the piano and visiting musicians […]. Dunn sang expressively […] A brief “Gebet an Pierrot” (1912) from Schoenberg’s much heftier Pierrot Lunaire cycle followed, in the piano-soprano version. Dunn was immediately dramatic and gave a good idea of the mood of the entire piece. It was again a brief sample that left me wanting to hear more from where that came from. So: a superbly planned recital, with a rich banquet of textures and colours, most of which we rarely get to sample here in Toronto. I’ve been re-listening to the entire program on the Naxos Online Library, piece by piece, all morning. Next time these people throw a recital, run don’t walk.” – Lydia Perovic, DEFINITELY THE OPERA

NOVEMBER 2016
AYRE: An Evening of Osvaldo Golijov
Against the Grain Theatre
Aga Khan Museum at the Ismaili Centre, Toronto

“The members of the Glenn Gould Ensemble played all three with verve, passion and commitment. Sopranos Adanya Dunn and Ellen McAteer both inhabited the sweet, passionate world of Golijov’s writing for voice with real conviction.
– Robert Harris,
THE GLOBE & MAIL 

Lúa Descolorida (“Moon, colorless”), a sad, wistful 19th century love poem written in archaic Galiciandialect brightly sung by soloist Adanya Dunn with simple, shining grace, provides much-needed catharsis.”
– Ian Ritchie, OPERA GOING TORONTO

 

“Adanya Dunn’s vibrant soprano voice joined the quartet for the dolorous Lúa Descolorida, reminiscent of Cantaloube’s Songs of the Auvergne, but with a Galician edge.”
– Paul Ennis, THE WHOLENOTE MAGAZINE

 

“The second piece, titled Lúa Descolorida featured the quartet and Adanya Dunn.  Ms. Dunn first caught our attention in the University of Toronto Opera School production of Britten’s Albert Herring and hasn’t stopped since. […] While the interplay between vocals and strings was fantastic, it was still very much a vocal piece with string quartet.Dunn’s voice handled the extreme range and colours covered in the piece beautifully. […] you were so transfixed by the intimacy of the whole affair”
– Gregory Finney, SCHMOPERA

JULY 2016
Toronto Summer Music Festival
Artsong reGENERATION Concerts & Master Class

“First up was soprano Adanya Dunn with Helen Becqué at the piano, in five short Poulenc songs. These are essentially miniatures and recognisably Poulenc. Dunn has a first rate, lovely lyric soprano, with gleaming tone and hall-filling volume. These pieces are often taken by singers with smaller, lighter instrument, so it’s a refreshing change. She delivered these songs beautifully, with sensitivity and textual nuance. Later in the afternoon, she offered “Chevaux des bois” from Ariettes oubliées by Debussy, sung with a lovely sheen. She also gave us from Hugo Wolf’sSpanisches Liederbuch “In dem Schatten meiner Locken,” a rather coy, even sexy song – within the 19th-century context, that is!  Dunn delivered it with the feminine playfulness and whimsy.” – Jospeh So, MUSICAL TORONTO

“Soprano Adanya Dunn opened with a stylish and witty account of five Poulenc songs of highly contrasted moods.  She showed excellent diction and sense of style and the musicianship that has marked her out in the contemporary repertoire.”
– John Gilks, OPERA RAMBLINGS

[Master Class with Craig Rutenberg]: “First up was soprano Adanya Dunn and pianist Helen Becqué with three short Poulenc songs. She has a naturally produced instrument with a very beautiful timbre, perhaps a bit darker and more substantial than most in these delicate Poulenc songs. Poulenc has a very distinctive melodic signature — I keep hearing Soeur Constance (usually sung by a light soprano) from Les dialogues des Carmélites in these songs!” – Joseph So, MUSICAL TORONTO

JULY 2016
NO ONE’S SAFE | Rachel Marshall
The Banff Centre /
Against the Grain Theatre / COC
Walter Philips Gallery, Banff

“They sing from twenty feet and from three inches—distances that shame dramatic weaknesses and relax young voices. Standouts in the cast—the strongest Ivany has put together—were baritone Peter Rolfe Dauz as a jumpy embezzler and soprano Adanya Dunn in one of the few tragic parts, as a tormented and vengeful daughter. [Dunn’s voice with] bassoon improvisation that turned out to be based on “Non so più.” […] it was more of a dramatic experiment than a musical one, and it sparkled.” – Lev Bratishenko, OPERA NEWS

DECEMBER 2015
A Winter Songfest
Sosnoff Theater, Fisher Center for Arts, NY

“Among the numerous wonderful performances of the students, standouts included: […] sopranos Adanya Dunn and Zoe Johnson lyrically performing the “Flower Duet” from Léo Delibes’ opera Lakmé.” – Kevin T. McEneaney, THE MILLBROOK INDEPENDENT

DECEMBER 2015 | Full Production @ The Music Gallery
APRIL 2014 | Workshop Performance @ Ernest Balmer Studio
l’homme et le ciel
FAWN Chamber Creative

 

“Finally, soprano Adanya Dunn (and Fawn Opera collaborating artist) was awesome and powerful as the Messenger, filling the performance space with exciting sound. Her first sounds came from behind hanging, translucent panels that filled the stage, and the result gave me goosebumps.” – Jenna Douglas, SCHMOPERA2014

“Rounding the cast out was Adanya Dunn as The Messenger.  This is a role that requires a lot of physical acting, perhaps mirroring Hermas’ mental processes, and movement as well as singing and was very well realized.“ – John Gilks, OPERA RAMBLINGS, 2015

“Adanya Dunn in the smaller role of The Messenger contributed to the sense of mystery, both in Hermas’s journey and in our own experience of the opera.”
– Leslie Barcza, BARCZABLOG, 2015

“[..] a strong presence.” – Leslie Barcza, BARCZABLOG, 2014

“This performance featured […] soprano Adanya Dunn (also FAWN’s producer) as a heavenly vision […] impressive show of commitment to do justice to Scime’s piece after only a few day’s rehearsal.” – Margaret Lam, BEMUSED NETWORK, 2014

JULY / AUGUST 2015
La Cenerentola | Clorinda
Music Academy of the West, California

 

“Perhaps the most striking aspect of the production was how fully and comfortably the young singers seemed to inhabit their roles, bringing a naturalness to their stage movements that is not always seen on the operatic stage. […] The energetic cast, most of them under the age of thirty, seemed remarkably adept at accomplishing both their musical and dramatic duties. Adanya Dunn and Deanna Pauletto, playing the stepsisters Clorinda and Tisbe, put in engaging performances throughout.”  – Edmond Johnson, OPERA NEWS

Music Academy of the West Voice Program Director Marilyn Horne minced no words at a reception following two  performance of the opera last Thursday evening and Saturday afternoon at the Granada Theatre. “You knocked it out of the park,” she declared proudly to her charges about this first production of Cinderella in the nearly 70-year history of the Music Academy. […] A sturdy supporting cast of singing actors included Cinderella’s silly stepsisters Clorinda (soprano, Adanya Dunn) and Tisbe (mezzo, Deanna Pauletto).”
– Daniel Kepl, CASA MAGAZINE

JANUARY 2015
The Song Continues: Marilyn Horne Master Class
Carnegie Hall, NYC

“Soprano Adanya Dunn took the stage with a wonderful relaxed stage presence and delighted the audience with her engaging personality.  Ms. Horne guided her through Britten’s “The Salley Gardens”, slowing the tempo and encouraging some sentimentality to good effect.  We truly enjoyed her storytelling in Liszt’s “Die Loreley”.  Shifts in dynamics and tempi made the performance even better.” – Meche Kroop, VOCEDIMECHE

MARCH 2014
Albert Herring | Miss Wordsworth
University of Toronto Opera

“Adanya Dunn was spectacular as Miss Wordsworth; she gave what I thought was the best singing of the nightand she was just so teacheryBird-like and constantly multi-tasking, she made my night when she took back the pie she’d brought for Albert’s grieving mother in the final scene.” – Jenna Douglas, SCHMOPERA

“Adanya Dunn displays a strong coloratura soprano in the role of the schoolteacher Miss Wordsworth, and she shows a great sense of comedy in the scene where her pupils practice the welcome song for Albert.” – Christopher Hoile, STAGE DOOR

MARCH 2012
Northern Landscapes
Richard Bradshaw Amphitheatre Concert Series
Four Seasons for the Performing Arts, Toronto

“The second set, of songs by Kilpinen, came from an undergrad soprano called Adanya Dunn with Evan Mounce on piano.  This was a voice with a bit more character; darker in the middle with a clear top register.  She also had good German diction and could act […] A pair to watch.” – John Gilks, OPERA RAMBLINGS

 

June 2011
The Light in the Piazza | Margaret Johnson
Opera NUOVA, Edmonton

“And Adanya Dunn’s Margaret – it is through her eyes that the story unfolds – is superb at scaling the full range of human emotion through voice and gesture.”
– Anna Borowiecki, ST. ALBERT GAZETTE

 

December 2000
Slavs! | Vodya Domik
The Tarragon Theatre, Toronto

“I should also mention Adanya Dunn, who plays the child so well and, in a daring move by the playwright, expertly delivers a speech in the Epilogue that basically summarizes the meaning of the play.” – Christopher Hoile, STAGE DOOR

“[…] and that of a mother (Maria Vacratsis) losing her child (played by the promising Adanya Dunn) to cancer caused by years of radiation exposure.” – Kamal Al-Solaylee, EYE WEEKLY

 

PRESS

JULY 2017

WHOSE OPERA IS IT ANYWAYS?!
Canada’s Only Opera Improv Team
Loose TEA Music Theatre

“[…] highlights […] a send up of a contemporary opera about brushing one’s teeth that featured extended toothy vocals from Adanya Dunn and brilliantly robotic invocations of toothpaste brands from Amanda Cogan.  Adanya (“I’m fluent in Italian”) Dunn also featured in an excruciating send up of a diva masterclass with unfortunate consequences for the much put upon Lindsay Sutherland-Boal as the student.” – John Gilks, OPERA RAMBLINGS

 

“Soprano Adanya Dunn had our hearts with her recitation – artfully sung, naturally – of the recent text messages in one audience member’s phone (including a live video reply to keep things spicy). Whose Opera is it Anyway isn’t something that just any opera singer could do […]
– Jenna Douglas, SCHMOPERA

JUNE 2017
CHARLOTTE:
A Tri-Coloured Play with Music
Role: Charlotte Salomon
Co-Production with Theaturtle & The Luminato Festival

“I’m confident that Salomon would have joyfully recognised herself in Adanya Dunn’s candid, open, funny Charlotte (her youthful soprano deliciously clear).”
– Judi Herman,
JEWISH RENAISSANCE

MAY / JUNE 2017
LA BOHÈME | Musetta
Puccini’s classic opera ||
Modern day Toronto ||
@ The Tranzac Club (dive bar) ||
Updated English libretto “transladaptation” by Joel Ivany,
Against the Grain Theatre 


“Adanya Dunn as Musetta, tears a broad swath through AtG’s La Bohème, strutting and vamping with reckless abandon, her sultry soprano red hot and alluring, a dangerous woman, wilful and self-centred. And an absolute delight. Dunn clearly loves this character as much as the audience. Her all-conquering stage turn in Ivany’s tumultuous Act II bar scene is nothing short of a master class in histrionics. It is her genuinely heartfelt prayer for Mimi in Act IV, however, that reveals the true depth of Dunn’s dramatic presence. “Oh, God! How’s this happening?”, she gasps. “She still had so much to give!” An exquisite moment of high drama delivered with potent, focused parlando.

– Ian Ritchie, OPERA GOING TORONTO

“Speaking of playing against type, Adanya Dunn the Sexed-Up Version (Musetta) was the second revelation of the evening. There was some pretty serious action on the bar counter after the “Quando m’en vo” and that’s after she’s made her seduction tour of the chosen people in the audience and the extras (including kissing one woman, and rubbing against the back of the music director Topher Mokrzewski at the piano).” – Lydia Perovic,
DEFINITELY THE OPERA

“Adanya Dunn is charismatic as the flirtatious Musetta” [4/4 stars!] – Glenn Sumi, NOW MAGAZINE TORONTO 

“Adanya Dunn was a total riot as Musetta.”
– Jenna Douglas, SCHMOPERA

“Adanya Dunn was a properly flirty Musetta, looking fabulous and acting up a storm, with just the ideal bright tone for the role.  Act Two belongs to Musetta, and Dunn took full advantage, singing a seductive Waltz and serving up some outrageous “footwork” to her Alcindoro”
– Joseph So, MUSICAL TORONTO

Adanya Dunn sang Musetta.  Now I’ve seen quite a lot of Adanya (though not quite as much as I saw last night) but it’s always been in highly technical, mostly modern, concert rep or in new opera.  So it was quite a revelation to see her singing much more “accessible” music and playing a very exuberant, sexy and, at times downright catty Musetta.  She was very good and very “physical”.  (I wish I could say that the back bar in the Tranzac has never seen anything quite like Adanya and Andrew’s antics last night but that wouldn’t be true).
– John Gilks, OPERA RAMBLINGS

MARCH 2017
TORONTO INTERNATIONAL
FILM FESTIVAL
Pre-Performance to Moses und Aaron (Schoenberg) Screening

 

“There was a sort of mini Schoenberg Fest at the TIFF Lightbox yesterday.  First up we got Topher Mokrzewski and Adanya Dunn with Claude Vivier’s Hymnen an die Nacht and five pieces from Schoenberg’s Pierrot lunaire.  The Vivier was a very apt choice; a piece of CanCon in the spirit of the Schoenberg. […] and Adanya, in my opinion, is at her considerable best in music of this type.” – John Gilks, OPERA RAMBLINGS

And what of TIFF’s experiment, combining live singers with film? I’d say it’s a qualified success.  I suspect the thought was to give us an entry into the austere style of the composer.  The irony is that what Dunn & Mokrzewski did was a great deal more authentic and true to the style than what we heard in the film […] Dunn and Mokrzewski were wonderful together [… and …] what [they] accomplished was remarkable.
– Leslie Barcza, BARCZA BLOG

JANUARY 2017
ACROSS THE CHANNEL
Canadian Opera Company’s Richard Bradshaw Amphitheatre Concert Series,
Four Seasons Centre

“Three of the Royal Conservatory’s Rebanks Fellows were singing with Helen Becqué at the piano […]. It kicked off with sopranos Ellen McAteer and Adanya Dunn singing three of the Mendelssohn duets Op. 63.  This is light lieder territory but it was interesting and fun to hear two rather different lyric sopranos blending rather nicely. Adanya then performed three Liszt songs to texts by Heine; Ihr Glocken von Marling, Im Rhein, in schönen Strome and Die Loreley.  This was High Romanticism indeed.  The first and second numbers have a kind of limpid beauty that Adanya made the most of.  The third is much more dramatic, especially, in the piano part but also has some reflective passages.  It’s very much story telling and, again, it was nicely done.”
– John Gilks, OPERA RAMBLINGS

DECEMBER 2016
LINEAGE: The Happenstance Series 
Heliconian Hall, Toronto

It rarely happens that a recital series strikes excellence in programming from the word go, but the group of musicians that include soprano Adanya Dunn, clarinetist Brad Cherwin, Alice Hwang at the piano and visiting musicians […]. Dunn sang expressively […] A brief “Gebet an Pierrot” (1912) from Schoenberg’s much heftier Pierrot lunaire cycle followed, in the piano-soprano version. Dunn was immediately dramatic and gave a good idea of the mood of the entire piece. It was again a brief sample that left me wanting to hear more from where that came from. So: a superbly planned recital, with a rich banquet of textures and colours, most of which we rarely get to sample here in Toronto. I’ve been re-listening to the entire program on the Naxos Online Library, piece by piece, all morning. Next time these people throw a recital, run don’t walk.”
– Lydia Perovic, DEFINITELY THE OPERA

NOVEMBER 2016
AYRE: An Evening of
Osvaldo Golijov
Against the Grain Theatre
Aga Khan Museum, Ismaili Centre

“The members of the Glenn Gould Ensemble played all three with verve, passion and commitment. Sopranos Adanya Dunn and Ellen McAteer both inhabited the sweet, passionate world of Golijov’s writing for voice with real conviction.”
– Robert Harris, THE GLOBE & MAIL

“Adanya Dunn’s vibrant soprano voice joined the quartet for the dolorous Lúa Descolorida, reminiscent of Cantaloube’s Songs of the Auvergne, but with a Galician edge.” – Paul Ennis, THE WHOLENOTE

Lúa Descolorida (“Moon, colorless”), a sad, wistful 19th century love poem written in archaic Galician dialect brightly sung by soloist Adanya Dunn with simple, shining grace, provides much-needed catharsis.”
– Ian Ritchie,
OPERA GOING TORONTO

“The second piece, titled Lúa Descolorida featured the quartet and Adanya Dunn. Ms. Dunn first caught our attention in the University of Toronto Opera School production of Britten’s Albert Herring and hasn’t stopped since. […] While the interplay between vocals and strings was fantastic, it was still very much a vocal piece with string quartet. Dunn’s voice handled the extreme range and colours covered in the piece beautifully. […] so transfixed by the intimacy of the whole affair […].”
– Gregory Finney, SCHMOPERA

JULY 2016
Toronto Summer Music Festival
Artsong reGENERATION Concerts & Master Class

“First up was soprano Adanya Dunn with Helen Becqué at the piano, in five short Poulenc songs. These are essentially miniatures and recognisably Poulenc. Dunn has a first rate, lovely lyric soprano, with gleaming tone and hall-filling volume. These pieces are often taken by singers with smaller, lighter instrument, so it’s a refreshing change. She delivered these songs beautifully, with sensitivity and textual nuance. Later in the afternoon, she offered “Chevaux des bois” from Ariettes oubliées by Debussy, sung with a lovely sheen. She also gave us from Hugo Wolf’sSpanisches Liederbuch “In dem Schatten meiner Locken,” a rather coy, even sexy song – within the 19th-century context, that is!  Dunn delivered it with the feminine playfulness and whimsy.”
– Jospeh So, MUSICAL TORONTO

“Soprano Adanya Dunn opened with a stylish and witty account of five Poulenc songs of highly contrasted moods.  She showed excellent diction and sense of style and the musicianship that has marked her out in the contemporary repertoire.”
– John Gilks, OPERA RAMBLINGS

[Master Class with Craig Rutenberg]: “First up was soprano Adanya Dunn and pianist Helen Becqué with three short Poulenc songs. She has a naturally produced instrument with a very beautiful timbre, perhaps a bit darker and more substantial than most in these delicate Poulenc songs. Poulenc has a very distinctive melodic signature — I keep hearing Soeur Constance (usually sung by a light soprano) from Les dialogues des Carmélites in these songs!”
– Joseph So, MUSICAL TORONTO

JULY 2016
NO ONE’S SAFE | Rachel
The Banff Centre /
Against the Grain Theatre / COC
Walter Philips Gallery, Banff

“They sing from twenty feet and from three inches—distances that shame dramatic weaknesses and relax young voices. Standouts in the cast—the strongest Ivany has put together—were baritone Peter Rolfe Dauz as a jumpy embezzler and soprano Adanya Dunn in one of the few tragic parts, as a tormented and vengeful daughter. [Dunn’s voice with] bassoon improvisation that turned out to be based on “Non so più.” […] it was more of a dramatic experiment than a musical one, and it sparkled.”
– Lev Bratishenko, OPERA NEWS

DECEMBER 2015
A Winter Songfest
Sosnoff Theater
Fisher Center for the Arts, NY

“Among the numerous wonderful performances of the students, standouts included: […] sopranos Adanya Dunn and Zoe Johnson lyrically performing the “Flower Duet” from Léo Delibes’ opera Lakmé.” – Kevin T. McEneaney,
THE MILLBROOK INDEPENDENT

DECEMBER 2015 | Full Production @ The Music Gallery
APRIL 2014 | Workshop Performance @ Ernest Balmer
l’homme et le ciel
FAWN Chamber Creative

 

“Finally, soprano Adanya Dunn (and Fawn Opera collaborating artist) was awesome and powerful as the Messenger, filling the performance space with exciting sound. Her first sounds came from behind hanging, translucent panels that filled the stage, and the result gave me goosebumps.”
– Jenna Douglas, SCHMOPERA2014

“Rounding the cast out was Adanya Dunn as The Messenger.  This is a role that requires a lot of physical acting [..] and movement as well as singing and was very well realized.
– John Gilks, OPERA RAMBLINGS, 2015

“Adanya Dunn in the smaller role of The Messenger contributed to the sense of mystery, both in Hermas’s journey and in our own experience of the opera.”
– Leslie Barcza, BARCZA BLOG, 2015

“[..] a strong presence.”
– Leslie Barcza, BARCZA BLOG, 2014

“This performance featured […] soprano Adanya Dunn (also FAWN’s producer) as a heavenly vision […] impressive show of commitment to do justice to Scime’s piece after only a few day’s rehearsal.”
– Margaret Lam, BEMUSED NETWORK, 2014

JULY / AUGUST 2015
La Cenerentola | Clorinda
Music Academy of the West, CA

 

“Perhaps the most striking aspect of the production was how fully and comfortably the young singers seemed to inhabit their roles, bringing a naturalness to their stage movements that is not always seen on the operatic stage. […] The energetic cast, most of them under the age of thirty, seemed remarkably adept at accomplishing both their musical and dramatic duties. Adanya Dunn and Deanna Pauletto, playing the stepsisters Clorinda and Tisbe, put in engaging performances throughout.” 
– Edmond Johnson, OPERA NEWS

Music Academy of the West Voice Program Director Marilyn Horne minced no words at a reception following two  performance of the opera last Thursday evening and Saturday afternoon at the Granada Theatre. “You knocked it out of the park,” she declared proudly to her charges about this first production of Cinderella in the nearly 70-year history of the Music Academy. […] A sturdy supporting cast of singing actors included Cinderella’s silly stepsisters Clorinda (soprano, Adanya Dunn) and Tisbe (mezzo, Deanna Pauletto).”
– Daniel Kepl, CASA MAGAZINE

JANUARY 2015
The Song Continues:
Marilyn Horne Master Class
Carnegie Hall, NYC

“Soprano Adanya Dunn took the stage with a wonderful relaxed stage presence and delighted the audience with her engaging personality.  Ms. Horne guided her through Britten’s “The Salley Gardens”, slowing the tempo and encouraging some sentimentality to good effect.  We truly enjoyed her storytelling in Liszt’s “Die Loreley”.  Shifts in dynamics and tempi made the performance even better.”
– Meche Kroop, VOCEDIMECHE

MARCH 2014
Albert Herring
Role: Miss Wordsworth
University of Toronto Opera

 

“Adanya Dunn was spectacular as Miss Wordsworth; she gave what I thought was the best singing of the nightand she was just so teacheryBird-like and constantly multi-tasking, she made my night when she took back the pie she’d brought for Albert’s grieving mother in the final scene.”
– Jenna Douglas, SCHMOPERA

“Adanya Dunn displays a strong coloratura soprano in the role of the schoolteacher Miss Wordsworth, and she shows a great sense of comedy in the scene where her pupils practice the welcome song for Albert.”
– Christopher Hoile,
STAGE DOOR & WHOLENOTE MAGAZINE

MARCH 2012
Northern Landscapes
Richard Bradshaw Amphitheatre Concert Series
Four Seasons Centre, Toronto

“The second set, of songs by Kilpinen, came from an undergrad soprano called Adanya Dunn with Evan Mounce on piano.  This was a voice with a bit more character; darker in the middle with a clear top register.  She also had good German diction and could act […] A pair to watch.”
– John Gilks, OPERARAMBLINGS

June 2011
The Light in the Piazza
Role: Margaret Johnson
Opera NUOVA, Edmonton

“And Adanya Dunn’s Margaret – it is through her eyes that the story unfolds – is superb at scaling the full range of human emotion through voice and gesture.”
– Anna Borowiecki, ST. ALBERT GAZETTE

 

December 2000
Slavs! (by Tony Kushner)
Role: Vodya Domik
The Tarragon Theatre, Toronto

“I should also mention Adanya Dunn, who plays the child so well and, in a daring move by the playwright, expertly delivers a speech in the Epilogue that basically summarizes the meaning of the play.”
– Christopher Hoile, STAGE DOOR

“[…] and that of a mother (Maria Vacratsis) losing her child (played by the promising Adanya Dunn) to cancer caused by years of radiation exposure.”
– Kamal Al-Solaylee, EYE WEEKLY