Don Giovanni

"As Donna Elvira, Olivia Vote... using her sizable mezzo to electric effect throughout... her passionate delivery lit up the stage."

- Opera News

"Olivia Vote’s Donna Elvira was edgy, with the right kind of acidic tone for that role."

"Vote played Donna Elvira as an aggressive yet endearingly coltish femme fatale, looking a little like Jessica Rabbit — a film-noir caricature"

-Washington Post

Chamber Recital with the Hugo Wolf Quartet for Music Worchester

"Olivia Vote, a young American mezzo-soprano with a burgeoning career on both sides of the Atlantic. She has a fine voice, with some big, full top notes and a creamy tone across her range."

"She sang her selections smartly, with plenty of security, charisma, and solid diction, in the process capably mining the songs’ stores of charm and class."   (works by Respighi and Wolf)

- The


Recital "Bel canto to can belto" with Steven Blier at Wolf Trap

“big, rich voice that explored the nuances of the poetry and provided the concert’s high point with a gorgeous performance of Castelnuovo-Tedesco’s “Ulai Laze Yihie Li Ometz.” 

- Washington post

Zürich: Schlusskonzert des Internationalen Opernstudios

Noch toppen konnte dies Olivia Vote mit einem unglaublich gut gesungenen „Parto, parto“ des Sesto aus Mozarts „Titus“. Welch wunderbares Timbre, welch sichere, nicht spürbare Technik, welch klangvolle und leicht geführte Mittellage, welch aufblühende Höhe, welch Souveränität im künstlerischen Ausdruck! Dabei stand die Künstlerin einfach da – und wirkte. Kein Buhlen mit dem Publikum, kein Getue – fabelhaft!

(One could not top Olivia Vote with an incredibly well-sung " Parto , parto " of Sesto from Mozart's " Titus " . What a wonderful timbre, a secure, effortless technic, which sounded full and easy in the middle, and blossomed in the top, what sovereignty in her artistic expression! The artist just stood there - and sang. No pandering to the audience, no fuss - fabulous!)

-Der Neue Merker


“While watching both Johnson and mezzo-soprano Olivia Vote who sang the role of Cuniza, I was transported from the Haverford School stage to one of the major opera stages of the world. Both women are so gifted and polished, it was a cinch to imagine them already embarking on their professional careers. Vote, also a fourth-year student, has both grace and power, her top notes reaching the rafters. Yet, her power seems almost effortless, a testament to her extraordinary talent and technique.”

Anna Bolena

“Olivia Vote as Giovanna (Jane) Seymour with whom Anna shares much stage time… were clearly living their roles.”

“…theatrical magnetism and steely vocal technique. Her Seymour was a creature of ambition - as opposed to being the generically operatic victim of seduction - heightening her conflict of loyalties.”

-Philadelphia Inquirer

“To Giovanna Seymour, Olivia Vote brings a sumptuous voice and a vivid stage presence. She leaves a large vocal imprint on Giovanna’s scenes with Enrico and proves a compelling adversary for Meade in their fiery second-act duet.”

“None other than her rival and former lady in waiting, Giovanna (Jane) Seymour, as sung by Olivia Vote, comes to visit her, stricken with guilt. The riveting duet that ensues is powered by two enormous voices, both coated with tonal luster. Vote is a voice to pay attention to…”

-City Paper Philadelphia

“She (Ms. Meade) was in excellent company. As Jane Seymour, Anne Boleyn's replacement in the affections of Henry VIII, mezzo Olivia Vote was a dish to set before the king and an exciting singer, too. She's only been at AVA since September!”

The Scarlet Letter (World Premiere)

“She looked just right, acted well and sang eloquently. “

- The Board Street Review


“Unquestionably, Meade has the pipes for the title role … It helps, too, that her mezzo-soprano rival sung by Olivia Vote was a near-even match with a solid concept of her role. In purely musical terms, this Norma was more satisfying than what you're likely to hear today in major opera houses.”

-Philadelphia Inquirer

“In the taxing duet with Adalgisa, Meade’s opulent soprano was joined by the attractive, well-schooled mezzo-soprano of Olivia Vote. The two singers traded one long-breathed phrase after another.”

“Vote earned an ovation for her Adalgisa which blended well with Meade’s Norma in their scenes together.”


Le Nozze di Figaro

“Mezzo-soprano Olivia Vote gave a solid performance as Cherubino, the adolescent boy whose unregulated hormones cause him to fall in love with every woman. Her singing of "Non so più cosa son" and of Cherubino's song for the Countess, "Voi che sapete" was delightful.”

-Cassical Voice, NC

“Mezzo- soprano Olivia Vote made an impressive debut in the role of love-starved adolescent Cherubino, providing comedy as a young page awkwardly impersonating a girl and memorably singing "Voi che sapete."

-Baltimore Sun Times

Gifts of Grand Opera

“The opening selection, Dido's Lament from Purcell's "Dido and Aeneas," was gorgeously sung by Vote, who has an extremely powerful voice characterized by a solid lower register and a seamless delivery. Most striking, however, was her expressiveness and sensitivity to the character: She knew how to subtly alter her tonal colors to fit the mood of the piece she was performing, and she was able to accomplish this consistently through her four selections.”

-The Capital, MD