Soprano
Acclaim
 
Les Delices, guest soprano evince nothing but wisdom in 'Folly of Youth' program

"In Canadian soprano Shannon Mercer, the septet had a stunning artistic ally, a voice of near-limitless power and agility as well as an interpreter steeped in the theatricality of the repertoire."

Zachary Lewis, The Plain Dealer
A toast to the music of 2015

"It's been years, perhaps 12 even, since Shannon Mercer's soprano voice has been heard in Hamilton. But oh, how it sounded so silky and smooth in Handel's "Messiah" with Howard Dyck and the Nota Bene Baroque gang at St. Joseph's Church in late March."

Leonard Turnevicius, The Hamilton Spectator
Portland Baroque Orchestra's 'Messiah' lights up the holidays with fresh conductor, experienced ensemble
"... Mercer’s bright, soft high notes and gentle phrasing shone in several movements, most notably in 'If God be for us,' a beguiling duet with concertmaster Rob Diggins."
James McQuillen, The Oregonian
Soloist Shannon Mercer spices up VivaVoce Monteverdi concert
"Mercer sounded terrific in her downstage-centre cantatas, some dressed up with touches of theatre. Most impressive was the Lamento della Ninfa, an operatic scene in all but name. Unlike the run of early-music songbirds, this soprano has enough dark matter in her sound to sustain an unvibrated delivery. Her identification with the woe-is-me text was complete."
Arthur Kaptainis, Montreal Gazette
Summoned to Heaven by Refreshing "Messiah"
"Shannon Mercer was magical both in her early pastoral episode and in her big last aria, 'I know that my Redeemer liveth'."
Bernard Jacobson, Seen and Heard International
On a day of tragedy, a compelling Messiah
"Mercer's soprano solos were beautifully focused and expressive, and her performance of 'Rejoice greatly' also demonstrated a breathtaking agility and speed."
Melinda Bargreen, Seattle Times
BEMF's sleek, heartfelt 'Orfeo' at Jordan Hall
"Still, from Sheehan’s mature, resonant Orfeo to Asselin’s vibrant La Musica and Euridice, Mercer’s impassioned Silvia, Ryland Angel’s agitated Speranza, Douglas Williams’s stern Charonte, Olivier Laquerre’s mournful Plutone, Teresa Wakim’s ingratiating Proserpina, and Jason McStoots’s light-filled Apollo, BEMF’s 'Orfeo' was equally rewarding as music and drama. Performances of this caliber deserved an upbeat finish."
Jeffrey Gantz, Boston Globe
"Her soprano is bright and agile, and she uses vibrato and ornamentation vividly to extract telling nuances from words and music. Mercer brings equal expressive vibrancy to the amorous, hedonistic and sorrowful feelings in these delectable pieces."
Gramophone
Soundstreams' 30th anniversary concert provokes, satisfies
"Mercer's crystal voice was haunting in Shi's The Mountain Spirit (2012) as she sang beautifully about love and longing."
Margaret Lam, Musical Toronto
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