“Emily Newton commendably played Anežka for poignant emotional truth, fielding a fine, rich-hued soprano.”
David Shengold, Opera News, April 2009 (on-line edition)
Anežka, Two Widows – Bronx Opera, January 2009

“Strongest among the singers was the Fiordiligi of Emily Newton, stinting nothing technically, her attractive soprano leant character and scope by a light vibrato.”
David Shengold, Opera News, October 2006 (on-line edition)
Fiordiligi, Così fan tutte – New Jersey Opera, July 2006

“All have excellent technique and the physical alacrity for operatic comedy, but Emily Newton, with her superb voice and queenly presence, steals the show as a stirring and heartfelt Fiordiligi.”
Anita Donovan, Trenton Times
Fiordiligi, Così fan tutte – New Jersey Opera, July 2006

“Ms. Newton sang with a dramatic color reflecting her experience with the 19th century operas of Puccini, yet handled the 18th century coloratura of Mozart well.”
Nancy Plum, Town Topics
Fiordiligi, Così fan tutte – New Jersey Opera, July 2006

“Emily Newton and Fenna Ograjensek as the sisters sing magnificently”
Stuart Duncan, TimeOff
Fiordiligi, Così fan tutte – New Jersey Opera, July 2006

“Emily Newton’s almost-steadfast Fiordiligi [was] appealing…[her] way with Fiordiligi’s conflicted recitatives was fiery.”
Bradley Bambarger, The Star-Ledger (Newark, NJ)
Fiordiligi, Così fan tutte – New Jersey Opera, July 2006

“[a] standout in the large cast…Emily Newton as the officious Wren”
Heidi Waleson, The Wall Street Journal
Die Zaunschlüpfer, Die Vögel (Braunsfels) – Spoleto Festival USA, May 2005

“The soaring soprano of Emily Newton filled out every note she sang.”
Bob Workmon, Winston-Salem Journal
Soprano soloist, Elijah – Winston-Salem Symphony, April 2005

“As the widow and an Angel, her beautifully even dramatic soprano voice easily filled the hall at all dynamic levels, and her high notes were gorgeous as well as exact.”
William Thomas Walker, Classical Voice North Carolina
Soprano soloist, Elijah – Winston-Salem Symphony, April 2005

“The role of Antonina, which runs the gamut of wronged motherhood, fiery vengeance, and abject grief is a juicy one for a dramatic soprano.  This role allowed her to explore the darker sides of a complex character.  To her evenly balanced voice has been added a rock solid base ideal for big roles.  Intonation was precise and her high notes were glorious, whether gently floated or soaring at full throttle to nail home a dramatic moment.”
William Thomas Walker, Classical Voice North Carolina
Antonina, Belisario (Donizetti) – A.J. Fletcher Opera Theater, January 2005

“Emily Newton as Donna Anna was in fine voice and acted well .”
Elizabeth and Joe Kahn, Classical Voice North Carolina
Donna Anna, Don Giovanni highlights concert – North Carolina Symphony, February 2005

“I have admired the full and glowing soprano of Emily Amber Newton in several oratorio and opera roles, and those virtues were evident in the fifth movement, where precise diction and strong projection were joined to a soaring melodic line.”
William Thomas Walker, Classical Voice North Carolina
Soprano soloist, Ein Deutsches Requiem – Winston-Salem Symphony, April 2004

“The full, glowing soprano of Emily Amber Newton as the raped Donna Anna was breathtaking, and her acting was outstanding.”
William Thomas Walker, Classical Voice North Carolina
Donna Anna, Don Giovanni – A.J. Fletcher Opera Theater, February 2002

“Her portion of the Charleston recital ended with Ginastera’s Cinco Canciones Populares Argentinas, Op. 10. These gave her a broad palette to render her wide-range mood and characterization and to display her firm, glowing high notes and clear diction.  The final, “Gato,” allowed Newton to portray a sultry seductress.”
William Thomas Walker, Classical Voice North Carolina
Spoleto Donor Recital, June 2004

“Superb was soprano Emily Amber Newton as the Female Chorus….this scene gave her a chance to display a full gamut of ‘simple acting’ to use facial and body language.  Newton’s arias helped establish an atmosphere of quiet domesticity.  Her gently lullaby over Lucretia was a highlight of the evening.”
William Thomas Walker, Classical Voice North Carolina
Female Chorus, The Rape of Lucretia – A.J. Fletcher Opera Theater, May 2004

“Newton’s convincingly conniving ways, particularly as demonstrated in the way she plays the simpleton, complement strong singing.”
Ken Keuffel, Winston-Salem Journal
Rosina, La Finta Semplice – A.J. Fletcher Opera Institute, May 2003

“Newton lit up the stage at every entrance with her stunning presence and strong, full voice.”
Roy C. Dicks, Raleigh News and Observer
Rosina, La Finta Semplice – A.J. Fletcher Opera Theater, May 2003

“…soloed beatifully in the final scene from Strauss’ opera Der Rosenkavalier”
Ken Keuffel, Winston-Salem Journal
Marschallin, selections from Der Rosenkavalier – North Carolina Symphony, April 2002

“Newton’s 23-year-old soprano reveled in warmth, expressive power and solid technique.”
Ken Keuffel, Winston-Salem Journal
title role, Beatrice di Tenda – A.J. Fletcher Opera Theater, January 2002