SimoneMcIntosh

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Mezzo-Soprano
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News

  • 22 November 2022

    Simone McIntosh signs to Askonas Holt

    Read full article

Press

  • Don Giovanni (Zerlina)

    Canadian Opera Company
    Feb 2024

    • Simone McIntosh and Joel Allison made a charming pair as Zerlina and Masetto, McIntosh especially fizzing with energy from her first notes and bringing a nice warmth of tone to both arias, while David Leigh captured well the quiet, stony fury of the Commendatore.

    • Canadian mezzo Simone McIntosh, another Ensemble Studio graduate, was a gleaming-toned, spunky Zerlina, turning essentially a terza donna into a starring role.

    • Simone McIntosh is a feisty Zerlina. [...] acting quite forcefully, she looked and sounded tougher than many a Zerlina.

  • Barber of Seville (Rosina)

    Scottish Opera
    Oct 2023 - Nov 2023

    • Rosina [...] was sung (optimally to my taste) in the mezzo-soprano register by Swiss-Canadian Simone McIntosh, with exquisite coloratura and flawless messa di voce. Her Act I Scene 2 cavatina (‘Una voce poco fa’) and her Act II bogus singing lesson were absolute perfection.

    • Swiss-Canadian mezzo-soprano Simone McIntosh’s Rosina is sung with glorious defiance and passion, not least in her tremendous aria of newfound love.

    • Stealing the show, was Swiss Canadian mezzo Simone McIntosh as Rosina, her bright coloratura perfectly matching the role with plenty of volume in reserve for outmanoeuvring the lecherous Bartolo. Making her Scottish Opera debut, she is a singer to watch.

    • The casting is inspired, at the centre of which is a truly mesmerising Simone McIntosh as Rosina. She commands every scene she inhabits, a woman with enough guile to outsmart her ineptly predatory guardian Bartolo, but not without the gentlest of charm, and topped by a vocal performance capable of assimilating virtuosic agility with lyrical enchantment.

    • Then there’s Rosina, a magnetically radiant, heartwarming coloratura performance by Simone McIntosh that ultimately steals the show.

  • Maometto II (Anna)

    Teatro Nuovo
    Nov 2022

    • No one lapsed into veristic phrasing or made bids for applause with interpolated long-held cadential tonic notes. Canadian high mezzo Simone McIntosh made a fine impression in her New York debut as Anna. Her limpid voice and phrasing underlined the relation of Rossini’s music to the legacy of Handel and Mozart; she traced a fine characterization and won an ovation for the stop-time “Giusto ciel.”

      • David Shengold, Opera News

    • But the vocal star of the show, for me, was Vancouver native Simone McIntosh, lithe and lovely, whose crystalline high mezzo fully commanded Anna’s wide range and whose unforced expressivity shaped every phrase with eloquence; her final aria was exquisitely nuanced without seeming the least bit precious.

    • For me, at least, any shortcomings could be forgiven for the appearance of the wildly wonderful mezzo Simone McIntosh. She was spectacular from start to finish in a role that fit her voice to a tee--and that's saying quite a bit when we're talking about the writing of Rossini at its most devilishly difficult. She even made the libretto by Cesare della Valle seem feasible (or, at least, bearable), dealing with mistaken identities and taking her own life at the end rather than end up with the Sultan. (And she didn't get up to sing one more time while she was dying, because she'd already done a whopper of an aria!)

  • Montreal International Musical Competition

    Montreal
    Jun 2022

    • En ce qui concerne la soirée de jeudi, la mezzo canadienne Simone McIntosh a écrasé la concurrence lors de la finale du volet « Aria » , une finale qu’elle a abordé en crescendo, révélant un potentiel ébauché dans « Dieu ! Que viens-je d’entendre ? » de Béatrice et Bénédict de Berlioz, son dernier air de demi-finale. Elle a embrasé la salle en chantant d’entrée l’air « Sein wir wieder gut » d’Ariane à Naxos de Richard Strauss.