Selected Press Reviews

Soprano soloist, Brahms’ Requiem, Tufts University Choirs

Soprano Deborah Selig was the soloist in the next movement and, like Lima, possessed an operatic sound with a gorgeous tone that was capable of penetrating through the ensemble. 

Megan Szostak, The Tufts Daily

 Amphytrite, Purcell’s The Tempest, The Henry Purcell Society of Boston

Deborah Selig brought forth bounteous and lustrous [singing] as Amphitrite, in “My Lord, Great Neptune.” 

Lee Eiseman, The Boston Music Intelligencer

Regina Isabella, Donizetti's L'assedio di Calais, Odyssey Opera

A last-minute stunner arrived with soprano Deborah Selig’s Queen Isabella, a haughty royal with a heart of gold based on Edward III’s wife, Philippa of Hainault, but renamed for the opera’s dedicatee, the Queen Mother. Selig’s silvery, agile singing lent great effect to the final act.

Zoë Madonna, The Boston Globe


Soprano Soloist, Brahms' Requiem, Buffalo Philharmonic Orchestra

The soloists, Deborah Selig and Darren Stokes, also brought both beauty and gravity to the occasion. Stokes has a commanding presence and a resonant voice that seems up to any challenge. Selig's voice lives up to her name – it means "blessed," and it is the first word heard in this piece, in the first chorus. It was full and shining and carried well. Both soloists put soul into the music and gave it depth.

Mary Kunz Goldman, The Buffalo News


Bella, Tippett’s The Midsummer Marriage, Boston Modern Orchestra Project

Deborah Selig displayed an impressively nimble, lustrous soprano in a well-delineated performance as Bella.

Jeremy Eichler, The Boston Globe


Rose, Weill’s Street Scene, Chautauqua Opera

Selig was Rose -- her considerable beauty finely detailed, her voice richly capable of any emotional nuance, her character delineated by each gesture she made, her desperation almost palpable...

Clair W. Van Ausdall, Chautauqua Daily


Bach Cantatas BVW 37, 92 and 97 Handel and Haydn Society

This season Handel and Haydn seems to have been saving its best soloists for last... Deborah Selig's more sizeable soprano was radiant in its bloom...

Thomas Garvey, The Hub Review


Soprano Soloist, Three Fairy Tales by Marcia Kraus, performed with Courtney Miller, oboe, and Shiela Kibbe, piano (Centaur Records)

The writing for the oboe and soprano is quite attractive. Deborah Selig brings the stories to life, singing with lovely tone, excellent diction- so one will not notice the lack of texts [in the cd booklet]- and not a trace of archness.

Ronald Grames, Fanfare Magazine


Sibyl Vane, The Picture of Dorian Gray by Lowell Lieberman, Odyssey Opera

Dorian’s love (for a short time) is the actress Sibyl Vane, played by Deborah Selig. Her voice and acting were excellent in the part.

Steven Ledbetter, Boston Music Intelligencer

The cast was also in great voice, especially Jurgens in a very lengthy and challenging role. The two female roles, filled exquisitely by Selig and Waite, were astonishingly impressive.

Jack Craib, South Shore Critic


Soprano Soloist, Mozart Vesperae solennes de confessore, Concord Chorus

Soprano Deborah Selig delivered an achingly beautiful “Laudate Dominum”...Selig exhibited a pure and agile voice.

Allison Jones, Concord Journal


Soprano Soloist, Bach St Matthew Passion, Masterworks Chorale

Soprano Deborah Selig has a jeweled tone that fared especially well in the treacherous melismatic arias. 

Sudeep Agarwala, Boston Music Intelligencer


Soprano Soloist, Earl Kim’s Three Poems in French, Soprano and String Quartet

Ravinia Festival Steans Institute Spring Tour

Selig’s is a strong voice, easily carrying above the quartet. The writing is intimate for the most part, requiring the voice to be both delicate and expressive. 

Joseph Youngblood, Palm Beach Daily News


Pamina, Mozart’s The Magic Flute, Boston Lyric Opera

Deborah Selig is a radiant, spontaneous have a “Magic Flute” that’s Pamina’s journey as well as Tamino’s. 

Jeffrey Gantz, The Boston Globe

Zach Borichevshy’s potent, youthful tenor was a wise choice for role of Tamino, as was Deborah Selig’s delicious lyricism as Pamina. Both possess rich color and timbre throughout their range and combine it with strong stage presence.

Richard Bunbury, The Boston Musical Intelligencer


Soprano Soloist, “Greatest Moments in Opera,” Cape Symphony

Selig’s solo from “La Boheme” (“Musetta’s Waltz”) was breathtaking.

Keith Powers, Cape Cod Times


Musetta, Puccini’s La Boheme, Central City Opera

Musetta is sung with delicious abandon by Deborah Selig, the outstanding Zerlina in Central City Opera’s 2006 “Don Giovanni.” Ms. Selig sings and acts this Musetta with delicious, coquettish and virtuosic abandon. 

David Marlowe, Marlowe’s Musings Blog


Pamina, Mozart’s The Magic Flute, Chautauqua Opera

Deborah Selig mastered the role of Pamina. The role is largely set down at the bottom of a soprano's register, yet it rises into the stratosphere on occasion, and she was always true and in control.

Robert W. Pyler, The Post-Journal


Susanna, Mozart’s Le Nozze di Figaro, Connecticut Lyric Opera

Susanna, sung by soprano Deborah Selig, was the star throughout. In ensemble and in arias, her sense of line and nuance were matched only by the sheer beauty of her tone and power of projection.

Milton Moore, The Day


Liederabend with Martin Katz, Kerrytown Concert House in Ann Arbor, MI

The voice of soprano Deborah Selig was beautifully rich with a shimmering vibrato.

Ruth Crystal-Zaromp, Detroit New Monitor


Curley’s Wife, Floyd’s Of Mice and Men, Kentucky Opera

Deborah Selig, as Curley's Wife, more than held her own against the forceful singing of the men. She coped easily with the role's high tessitura, acting up a storm as a real slut of a character, yet projecting the emotional desperation behind the façade.

Charles H. Parson, Opera News

Deborah Selig imbued Curley’s Wife with vivid sexuality that, as the narrative demands, was both desperate and a little disgusting. She brought a strong, occasionally steely voice to the opera's single female assignment, and her Act III partnership with Hendrick's Lennie was adroitly managed.

Andrew Adler,


Elsie, A. Sullivan’s The Golden Legend, Longfellow Orchestra

Deborah Selig (who bore an uncanny resemblance to the actress, Jennifer Beals) soared through Elsie’s music with sweetness, but with plenty of sheen to the voice, which opened up beautifully the higher she went. She had the proper amount of earnestness and beauty of tone for “My Redeemer and my Lord” - but truly made her mark with the little coda Sullivan gives Elsie immediately after “My life is little - only a cup of water,” which can only be described as ravishing. Selig’s breathtaking “Christe Elieson” with the chorus at the conclusion of “The night is calm and cloudless” interrupted the performance from the otherwise well-mannered audience with several cries of “Brava!” 

Paul Padillo, Portland Arts Blog