Kimberly Barber, mezzo-soprano

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Profile ArticlesReview Archive: In Opera | In Concert | In Recording

IN Recording:

Florent Schmitt Music for Two Pianos, Le petit elfe/ Dutton Classics 2011
“Kimberly Barber’s vocalise in Chanson de la Nourrice is lovely”
--Rob Barnett, musicweb-international.com, October 2011

L’accordéoniste/Independent release 2009
“Barber is appealing in a program that requires her to switch from the gritty streetwise swagger of the Hanns Eisler/Berthold Brecht ‘There’s nothing quite like money’...to the wistful ‘Chitarrata abruzzese’ by Paolo Tosti.”
--Wayne Gooding, Opera Canada, Winter 2009

“An artist of great artistic range, Barber delivers these songs idiomatically and fearlessly, without operatic artifice, her attention to textual nuance exemplary.”
--Joseph So, La Scena Musicale, September 2009

“Here is the playfully caustic spirit of the late 19th-century salon and early 20th-century cabaret vividly and elegantly rendered in 17 tracks by people who clearly love the material…Barber adds a polished sheen to frothy little gems such as Weill's ‘Berlin im Licht-Song’, then turns around to apply dramatic force to Weill's tragic ‘Sailor's Tango’.”
--John Terauds, Toronto Star, July 28, 2009

Faustina Bordoni: Faces of a Prima Donna/Ensemble Arion/CBC Records 2005
“Barber eloquently approaches the text with precision and dramatic inflection…[her] mezzo is like a kaleidoscope of colour…The true mark of an artist who can use their voice technically and artistically within a repertoire that is imbued with difficulty is one that can use those elements to create drama and bring a character to life…Barber is such an artist…this CD is a must-have for any Handel aficionado, or anyone who is interested in historical performance practice.” 
--Mary Lou Vetere, Opera Today, August 28, 2007

Maurice Ravel´s L'heure espagnole/LSO/ André Previn/DGG 1999
“Kimberly Barber's intonation and articulation as the much-admired Concepción make her sound like a native Frenchwoman. Her pronunciation, the elasticity and charisma of her voice, unavoidably bring to mind a comparison with Felicity Lott. Due to the charm of her timbre, her strong expression and fine sense for lyrical and subtle nuances, she sings her way into the heart of this recording.”
--M. Fiedler, Das Opernglas, October 1999

“Canadian mezzo-soprano Kimberly Barber -- so memorable in the Canadian Opera Company's Xerxes -- is alert and rich-voiced as Concepción, the wife who drives the comic action. She is particularly delightful in the opera's funniest moment, when she hints at her designs upon the virile muleteer; ‘Sans horloge’ (‘no clock’) she sings, resetting the agenda.” 
--Urjo Kareda, Opera Canada, Fall 1999

Aaron Jay Kernis' 100 Greatest Dance Hits/New Albion Records 1996
"Most beautiful of all, though, is the awkwardly titled American (Day) Dreams (...) the poems are comic, sad and deeply evocative, and Kernis' melodies, sung with unnerving purity by mezzo-soprano Kimberly Barber, will rip your heart."
--Joshua Kusman, San Francisco Chronicle, April 1996