Concert Reviews

The Bach Festival at Baldwin Wallace College

“In Handel’s Sweet Bird,’ she (Ingold) was enchanting in conveying the perky purity of the coloratura phrases in answer to Mary Kay Fink’s virtuosically ornamented bird calls on transverse flute.” – Donald Rosenberg, The Plain Dealer

Messiah
“There was some fine singing from the soloists and some impressive work from members of the baroque orchestra. Soprano Coeli Ingold sang with sweet timbre, well-schooled technique and excellent early- music manners.” – Wilma Salisbury, Plain Dealer

Contemporary Music
“Christopher Morgan Loy’s Elizabethan Lyrics were composed for the high tessitura and clear timbre of her lovely voice. Ingold sang the set of songs with clarity and control.” – Wilma Salisbury, Plain Dealer

Early Music Concerts
“Ingold fashioned an exquisitely polished performance of Cleopatra’s lament. She shaped the music with fine control, gracefully integrating the ornaments into the vocal line. She has a light but pure- toned voice and an immaculate technique. And she makes much of the Italian words.” – Robert Baxter, New Jersey Courier-Post

“Her voice expressed fiery emotions. She eloquently expressed the music’s tragic emotions and dramatic contrasts.”
“Ms. Ingold knows how to send her light voice soaring into the high spaces (of the Cathedral) with shining transparency.”
“Ingold tumbled daringly through showy vocal acrobatics in Caccini’s ‘Caduca Fiamma’ from ‘Le Nuove Musiche’ (1602). The ensemble demonstrated that Italian baroque music is fun, fiery, and full of musical surprises.”
“Ingold handled elaborate embellishments with skill and she shifted easily from outcries of despair to playful moralizing… she had the sweet vocal quality to play the country maiden.”
– Wilma Salisbury, Plain Dealer

“Ingold displayed a light and agile soprano, especially in the famous Sweet Bird’ showpiece from Handel’s L’Allegro, il Penseroso ed il Moderato,’ where she matched trills, runs and birdcall imitations with the soft pastoral sound of Fink’s wooden flute.”
“All five performers were on stage for the evening-ending performance of Sweet Bird,’ a showpiece for soprano and flute that rivals the mad scene from Lucia… she (Ingold) matched trills, runs and birdcall imitations. Well-performed, it brought the concert to a splendidly satisfying conclusion.”
– Robert Finn, Plain Dealer