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As Soloist in Mendelssohn's Elijah with the Calvin Oratorio Society c. Joel Navarro:
“'Elijah' is stunning display of voices [Headline] Clawson became almost vicious
in the role of the haughty Queen Jezebel as, in rich warm tones, she ordered Elijah to be
slaughtered. Her voice grew gentle again during an especially lovely arioso in the first
half that served as a peaceful respite after the provious chaos when Elijah challenged the
priests of Baal.”
- Jennifer Lund, The Grand Rapids Press - April 19, 2004
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As Soloist in Hindemith's When Lilacs Last in the Dooryad Bloom'd with the New Mexico Symphony Orchestra
c. Guillermo Figueroa:
“The part of the mezzo is given primarily to the imagery of the 'gray-brown bird'
who sings plaintively of love and death. Clawson gave a moving performance that brought forth
the melancholy foundation underlying the entire work.”
- D. S. Crafts, The Sunday (Albuquerque) Journal - March 22, 2004
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As Soloist in Berlioz’ La Damnation de Faust with the New Mexico Symphony Orchestra
c. Guillermo Figueroa:
“Luminous of spirit and voice, Clawson created a deeply affecting portrait of Marguerite,
forging a perfect balance between stage and concert.”
- Joanne Sheehy Hoover, Albuquerque Journal - March 25, 2003
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As Soloist in Berlioz’ La Damnation de Faust with the New Mexico Symphony Orchestra c.Guillermo Figueroa:
“Clawson’s Marguerite was a pool of quiet focus. When she sang, she was in character;
when she listened to her fellow singers, she kept that concentration; and when she sat quietly,
she maintained the mood. Clawson was in excellent vocal form in the part’s middle and lower reaches,
which suited her rich mezzo. High passages were brilliant. Autrefois un roi de Thulé held attention
by its repose, while the piteous D’amour l’ardente flamme fully expressed Marguerite’s sorrow at Faust’s
desertion.”
- Craig Smith, The New Mexican - March 25, 2003
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As Soloist in Berlioz’ Roméo et Juliette with the Midland Symphony c. Carlton Woods:
“There were the awesome voices of the three soloists, rich, encompassing and expressive.
One could enjoy their tones regardless what words were being sung. Clawson particularly had a
rich vibrato emanating from a completely freely produced tone, and also struck a fine balance
between beautiful sound and musical line.”
- Eric Nisula, The Daily News - February 10, 2003
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As Madame Larina in Eugene Onegin with the Santa Fe Opera c. Alan Gilbert d. Jonathan Miller:
“The best performances came in the secondary roles: Clawson as the knowing materfamilias...”
- Scott Cantrell, Dallas Morning News - August 1, 2002
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As Soloist de Falla's El Amor Brujo with Syracuse Symphony c. Kazuyoshi Akiyama:
"I was thoroughly impressed by her voice...a thoroughly enjoyable evening."
- John Johnson, The Post-Standard - November 17, 2001
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As soloist in Verdi's Requiem with the Grand Rapids Symphony c. David Lockington:
"Clawson distinguished herself with the Lux Aeterna, singing well up into
soprano territory while captivating the audience. Four
accomplished singers were on hand and earned a standing ovation
for the performance that captured both the drama and beauty of
Verdi's Requiem."
- Jeffrey Kaczmarczyk. The Grand Rapids Press - November 3, 2001
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As Soloist in Verdi's Requiem with the Midland Symphony c. Carlton R. Woods:
"An extraordinary performance. The four vocal soloists added more
highlights to the concert. For most of the evening, Clawson's mezzo
garnered top prize for her warm and resonant solos as she soared
with golden, radiant tones and transcendent lyrical vision. It was a
stellar evening."
- Grover B. Proctor Jr.. The Saginaw News - Apr1 l9, 2001
"The soloists, all experienced singers, sang their parts with authority and expressivity."
- Jane Girdham. Midland (MI) Dally News - Apr1 l9, 2001
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As Soloist in Copland's Old American Songs and Brahms' Alto Rhapsody
with the San Juan Symphony c. Bernard Rubenstein:
"Clawson brought her extraordinary voice fIrst to Copland and later
to Brahms. 'Simple Gifts,' and three other works demonstrated that
Clawson is as much at home with rectial works as with grand opera.
Clawson effortlessly spun out Brahms' long lines filled with
impossible intervals, high pianissimos, and two devilishly-low
entrances."
- Judith Reynolds. The Durango (CO) Herald - February 26, 2001
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As Soloist in Alexander Nevsky with the New Mexico Symphony Orchestra c. David Wiley:
"With dark velvet tones and expressive inflection, Clawson made a
passionate soloist in the lament for the dead."
- Joanne Sheehy Hoover. The (Albuquerque) Sunday Journal - December 17. 2000
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As Soloist in Messiah with the Calvin Oratorio Society c. Pearl Shangkuan:
"The soloists hung ornaments on their arias like they were decorating
a Christmas tree, adding grace notes, trills and ad libs that lent a new
dimension to many of the arias. Clawson tackled the tough aria 'But
Who May Abide the Day of His Coming'?' with grace and good
musicianship. Clawson has some nice contralto notes in her voice.
An expressive singer, she radiated wannth with '0 Thou That Tellest'
and sorrow with 'He Was Despised.'"
- Jeffrey Kaczmarczyk. The Grand Rapids Press - December 8, 2000
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As Soloist in Gala Concert to Honor Music Director David Lockington with the New Mexico Symphony Orchestra
“The second half of the program turned more mellifluous, opening with the amber tones of Clawson
in Brahms songs. A welcome opportunity to hear this talented singer in more intimate material, they were
a testament to her ever-increasing expansiveness both vocally and expressively.”
- Joanne Sheehy Hoover, Albuquerque Journal - December 13, 1999
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As Soloist in Beethoven’s Missa Solemnis with the New Mexico Symphony Orchestra c. Roger Melone
“A strong quartet of soloists brought notable vigor and power to their parts. Especially effective were
Clawson’s expressive use of her velvet mezzo...”
- Joanne Sheehy Hoover, The (Albuquerque) Sunday Journal - October 17, 1999
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As Soloist in Beethoven’s Symphony No. 9 with the Santa Fe Symphony c. Steven Smith
“Clawson was the most self-assured of the quartet. For players, soloists, chorus and audience,
it was a veritable love feast.”
- Craig Smith, The New Mexican - October 12, 1999
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As Mother Jeanne in Les Dialogues des Carmelites with the Santa Fe Opera c. Stéphane Denève d. Francesca Zambello
“Clawson’s calm authority and rich alto made Mother Jeanne notable.”
- Craig Smith, The New Mexican - August 2, 1999
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As Soloist in Mahler’s Symphony No. 2 with the Midland Symphony c. Carlton Woods
“...’Urlicht,’ when Clawson stepped up and delivered a stunningly beautiful reading of this
quiet, emotional song. She brought to the quiet contemplative lines the phrasing and lyrical melodic
reading that this entire work aches for. Her voice was warm and compelling, and her obvious feeling
for the prayer-like text moved everyone.”
- Grover B. Proctor, Jr., The Saginaw News - April 12, 1999
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As Soloist in Verdi’s Requiem with the New Mexico Symphony Orchestra c. David Lockington
“Clawson was in top form. Her resonant vocal tone and expansive style made Verdi’s lines glow. By the time
she reached her final solo, her voice had become a radiant flow. The team of soloists turned in a performance of
consistent musicality.”
- Joanne Sheehy Hoover, Albuquerque Journal - April 30, 1997
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As Rosa in Offenbach’s Christopher Columbus with the New England Lyric Operetta c. Neal Goren
“The three jilted brides of Columbus were charming and quite funny. Clawson dug
into the deeper notes for good laughs. The trio was the centerpiece of the show.”
- Jerome R. Sehulster, The Advocate (Stamford, CT) - April 13, 1997
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As Augusta Tabor in The Ballad of Baby Doe with the New Mexico SymphonyOrchestra c. David Lockington
“Clawson generated a forceful presence. With her richly colored voice and vivid dramatic sense,
Clawson captured Augusta’s enduring strength as well as the anguish of her position.”
- Joanne Sheehy Hoover, Albuquerque Journal - January 19, 1997
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As Soloist in Mahler’s Symphony No. 2 with the New Mexico SymphonyOrchestra c. David Lockington
“The fourth movement is introduced by the
mezzo soprano alone. With her richly
colored voice and emotional conviction Clawson made it one of the evening’s
most thrilling moments. Singing
directly to the audience, without score, she went on to convey the movement’s
profound declaration of faith in a manner both deeply moving and totally
convincing.”
- Joanne Sheehy Hoover, Albuquerque Journal - April 22, 1996
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As Prince Orlofsky in Die Fledermaus with Opera Southwest c. James P. Sullivan
“Especially good was Clawson as
Orlofsky. She has a strong, supple,
clear voice and she can hold the stage (and steal a scene) with little more
than a lifted eyebrow.”
-Ann L. Ryan, Albuquerque Journal - March 31, 1996
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As Azucena in Il Trovatore with Opera Southwest c. James P. Sullivan
“Clawson is overpowering as the old
Gypsy...Clawson’s performance was of Metropolitan Opera caliber...Clawson has a
burnished bronze voice that is solid as a rock. However, vocal talent is not enough
for this tough role. Good dramatic ability is needed and she
delivers.”
- Art Geiselman, Albuquerque Journal - 1995
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