​Edrie Means Weekly Co-Founder Contemporary Commercial Music Vocal Pedagogy Institute

Some Highlight From The Press: Musical Theatre

 

 

Carousel, Carrie Pipperidge

 

                    “Two of the finest performances of the evening belonged to Edrie Means as Carrie Pipperidge, and Marc Embree as Jigger                            Craigin. Means has a beautiful voice, which hopefully will be heard in future Opera Grand Rapids productions.”

                                                                                                                                                              The Grand Rapids Press, Julie Ridenour

 

The Merry Widow, Hanna

 

                    “Edrie Means in the lead role of Anna the rich widow, had a lovely voice and expressive acting. The most effective

                     moments were between Little and Means alone on stage. They created a lovely setting of intimacy in their duets and

                     dance scenes.”                                                                                                                 Lansing State Journal, Ken Glickman

 

The Sound of Music, Maria

 

                    “Friday night, Edrie Means made the rest of her performance as radiant as her first appearance. Means commanded

                     the stage with her presence, and she led the rest of the cast in a beautifully staged production by Cleveland Opera.”

                                                                                                                                                               The Beacon Journal, Elaine Guregian

 

                    “Edrie Means is winsome as the young Maria von Trapp; her soprano, though on the light side, is pleasant and she acts

                     the part skillfully.”                                                                                                          The Plain Dealer, Robert Finn

 

                    “The singing was on-par, also. I had feared that the singers would not be able to do the film justice, but they did well

                     above ‘justice’. Maria, played by Edrie Means, sounded extremely Julie Andrews-esque in her vocal style, and I was                                      enchanted by her ability.”                                                                                                          The Buzz, Linda DeMarino 

 

West Side Story, Maria

 

                    “The soloists acted their parts effectively, even during the speaking parts, unfamiliar to many operatic singers. Means’                                  ensemble and solo singing displayed eloquence and effortless virtuosity. The Houston Opera Studio must have a bright

                     future with its talented performer.”

                                                                                                                                                             The Victoria Advocate, Gary Dimuzio

 

The Sound of Music, Mother Abbess

 

                          “And highly impressive in this tuneful cast of more than 40 members was Edrie Means, who sang a hair-raising

                           rendition of ‘Climb Every Mountain’ as the Mother Abbess.”

                                                                                                                                                                Washington Post, Leonard Hughes

 

                          “But the thrill of the evening was Edrie Means as the Mother Superior singing ‘Climb Every Mountain’.

                           Her magnificent voice soared in the performance space and she was well rewarded by tumultuous applause.”                                                                                                                                                                                                    Intermission, Verna Kerans

 

Zorba, Madame Hortense

 

                          “As Hortense, Means’ clever protrayal is both girlish and womanly-simultaneously falling prey to Zorba’s

                           seductions, yet using them to recreate her lost youth. She effortlessly moves from coquette in ‘Boom Boom’ to

                           needy woman in ‘Goodbye Canavaro’, to broken blossom in Kander and Ebb’s eerie ‘Happy Birthday’.”                                                                                                                                                                                                            Intermission, Hans Bachmann