VOICE WORK

“ Botti loves that beautiful, classical bel canto singing, but she’s not afraid to throw some Jimi Hendrix-style distortion into the mix”
(Kim Green, Nashville Public Radio)

  • Vocal solos & excerpts

  • Jingles & non-classical

  • Narration

As a singer, she possesses a wide technical and emotional range,…Reminiscent of great purveyors of 20th century vocal music such as Jan de Gaetani and Cathy Berberian, she is direct and powerful yet can recede to eloquence and intimacy. That takes great acting skills, which were in full force here…The score's musical language ranges widely. Close, lush string harmonies, pointillistic textures, drones, and outbursts of grating, percussive dissonance…"

— Michael Huebner, ArtsBHAM

"…When Botti is hot, she is incandescent. Her soprano sears the score, consumes it, and breathes it back as musical fire. And that’s when she’s singing other composers’ material. When she’s singing her own music, Botti is transformed from re-creator to creator of an intense, immensely emotional music… Her voice can be as sorrowful as a sob, as soft as a farewell, and as fine as a line drawn with a sharp knife on the soft skin above the heart… emotional display of the rawest and most elemental form. Her art is Dionysian, not Apollonian, and Botti is a bacchante, tearing the emotional flesh from the rigid bones of the score…"

— James Leonard, The Ann Arbor Observer

The New York singer has a vocal presence that speaks to the essence of the music, illuminating every note. Her diction is impeccable, with even the quietest syllables and awkward vocal tangles made perfectly clear, and she infuses the music with the nuance Gubaidulina intended."

Douglas McLennan, Seattle Weekly