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 Male soprano Elijah McCormack’s fresh timbre and unforced top range were a total delight in the work’s penultimate movement, accompanied by a prominent mellifluous combination of Margaret Owens’ oboe and Joseph Monticello and Jennifer Grim’s flutes.”

South Florida Classical Review

FEATURE: Trans soprano leads glorious 18th century ‘Christmas Oratorio’

Patrick Folliard for the Washington Blade


 Male soprano Elijah McCormack contributed the most exuberant performance of the evening as Amore (Cupid) and Valletto, singing, acting, and dancing with a vitality that raised the entire show a notch every time he was onstage.”

Chicago Classical Review


"McCormack’s voice rang out with clean power in “Ich will dir mein Herze schenken”… McCormack’s hushed rendition of the aria “Aus Liebe” in the second half was the high point of the evening. In the midst of the tumultuous shouting as Pilate decided Christ’s fate, this serene moment stood out.”

Washington Classical Review


”Elijah McCormack was a radiant soprano with a smooth legato."

Dallas Morning News


"Other standouts in the cast include Elijah McCormack’s Bell Cohen… [McCormack] brought an intense energy to Bell that electrified his gender-bending cuckolding scene with McFerrin in the second act."

Schmopera on Benjamin P. Wenzelberg’s NIGHTTOWN 

FEATURE: Trans opera singers find their voice in ‘NIGHTTOWN’

A.Z. Madonna for the Boston Globe

"The "Bad" child Miles had Elijah McCormack as a bulwark of the night: ambiguous, stealthy, elusive, fearsome, projecting a childlike voice of pristine clarity."

Artburst Miami on "The Turn of the Screw" (translated from Spanish) 

"Floating above [the orchestra's] music was a voice with the kind of luminosity one longs for in Bach, that of the marvelous young soprano Elijah McCormack... Among the vocal soloists, McCormack did eloquent work throughout."

The Washington Post

"The most amazing of the other soloists was Elijah McCormack, an adult male singing with a powerful boyish soprano, but with more expressive sophistication than you'd get from a boy."

Dallas Morning News

"Young Elijah McCormack sang in Italian that rolled off his tongue, in language that bled from the heart. His voice, his manner, his being turned into the disconsolate youth weeping for the return of his beloved. The performance proved magical."

Bloomington Herald-Times

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