Reviews



Liederabend 

FAOT 2016

"The mexican mezzosoprano Cassandra Zoe Velasco, accompanied by the remarkable pianist Abdiel Vazquez, offered one of the best recitals. 
The program was formed by two cycles of songs by Wagner, Strauss, Ravel and Montsalvatge. Was sung not only with thecnical and expressive qualities of high level, but also with all the subtle stylistic gradiations that each case requiered. 
Remarkable was the morbid decay at the Chansons Madecasses, seasoned with the right amount of langour and exotic sound. Equally effective, it was the approach to the picaresque elements of the Cinco Canciones Negras by Montsalvatge, including harmonic inflections as the blues in them"
Juan Arturo Brennan, La Jornada 

"With a nuanced interpretation, the Mexican mezzosoprano Cassandra Zoe Velasco made us realize why is she one of the best voices of bel canto and a worthy representant of Mexico in the world" 
Xavier Quirarte, Milenio Magazine

Madama Butterfly

Filarmónica de Jalisco

"Cassandra Zoe Velasco was delightful in her first Suzuki, letting us listen the beauty of her authentic mezzo voice, with warm and dark color; Suffering always on par with her mistress was the perfect "loving servant" 
Manuel Yrizar.

"... in contrast, who was vocally wonderfull in the role of Suzuki was our extraordinary Cassandra Zoe Velasco, whose histrionic ductibility was moving and unforgettable"
Lázaro Azar, Reforma

Rigoletto

Filarmonica de Jalisco

"What a joy it was to hear the first Maddalena of Cassandra Zoe Velasco! Full of passion and dark colors"
Lázaro Azar. Reforma

Cherubino – Le nozze di Figaro

Princeton Festival

“Cassandra Zoe Velasco’s concept of Cherubino – a “trouser role,” with a woman playing a man (or in this case, a teenage boy) – is refreshing in its verisimilitude. Her portrayal is devoid of much of the mugging and cutesiness often associated with the character. Since he is already caught up in so many machinations and silly costume changes, further affectations are unnecessary. He comes across more than usual as a character of flesh and blood, even as the layers of ambiguity pile up (a female singer playing a male, who winds up disguised as a female).” 
-Ross Amico, NJTimes.com

“A worthy audience favorite was 25-year old Mexican Cassandra Zoe Velasco, who already has a career well under way. She possesses a mezzo voice with real color and depth. She phrased with mature artistic sensibility while believably portraying Cherubino as an awkward adolescent. . . . ” 
-Andrew Moravcsik, Opera Today

“Ms. Velasco easily captured the adolescent yearning of the part, singing with quick and light coloratura, especially in the Act I aria “Non so più cosa son,” accompanied by light winds.” 
-Nancy Plum, TownTopics.com

Centro Nacional de las Artes. Mexico

"Stresses the creation of her character Cassandra Zoe Velasco, who is an unparalleled Cherubino, feverish and Adonis loving teen that wants at all and gets all" 
- Manuel Yrizar

Philomène – Martinů’s Alexandre Bis – Gotham Chamber Opera

"Mezzo Cassandra Zoé Velasco, fluid of voice and saucy in manner, was the maid Philomène in Alexandre Bis.”
-Fred Cohn, Opera News

"Cassandra Zoé Velasco as the maid and Jason Slayden as the randy Oscar are also charming."
-Anthony Tommasini, New York Times

"Cassandra Zoé Velasco as the disapproving maid Philomène, who brought some coloratura flourish to the vocal music in her “dream” incarnation as the Goddess of Marriage." 
- Heidi Waleson, Wall Street Journal

"Velasco was charming as the maid, and impressed with her warm yet agile mezzo-soprano, particularly when she appears as the goddess of marriage in the guilt-ridden Armande’s dream sequence."
 - Richard Peters, Bachtrack.com

"Cassandra Zoé Velasco, like every French housemaid, combined twirling a feather duster with appearances as the goddess of marriage, her attractive mezzo having far too little to do.” 
- John Yohalem, Parterre.com

Margalit – Jonah and the Whale – Los Angeles Opera

“Cassandra Velasco has an opulent mezzo-soprano voice and sang the Margalit role with wonderful creamy chocolate tones”
- Maria Nockin, ProOpera Magazine

Mercedes – Carmen – Los Angeles Opera

The word, “warm” also describes the quality of Cassandra Zoé Velasco’s mezzo as Mercédès. She too is a member of the Domingo-Colburn-Stein Young Artist Program. As I watched her sitting next to Hae Ji Chang, who played Frasquita, I kept thinking, “Now there is a Carmen in the making.” Both her voice and face forced my eyes in her direction..."
- Carol Jean Delmar, Opera Theater Ink

Rosina – Il barbiere di Siviglia –Palacio de Bellas Artes

"... at her young age, she gave us not only a great Rosina... showed that she is a real promise of another star in operatic firmament of the world. She didnt lost the opportunity to shine at "una voce poco fa" making us understand with music and acting every detail of the personality of the heroine of the story. Also she let us see her coquetry and comedic acting during the lesson. It is my firm belief that this girl will shine sooner than before, because she have the instrument, the musicality, presence and acting... raw materials that she must continue to work to make her potential in a reality. "
- Luis Gutierrez, ProOpera Magazine

"Mezzosoprano Cassandra Zoe Velasco shows a brilliant coloratura, flawless intonation, soft and warm registration in her interpretation of "Una Voce poco fa". Her singing is top notch and her performance has charm and humor, she sang with exceptional fiato control and lustrous tone, It ́s a very talented artist, and is clearly intended for great things"
- John Bills, Opera de San Miguel

Isolier – Le comte Ory – Centro Nacional de las Artes

"...I fell in love with Isolier since she appeared on the scene. What a coloratura as well resolved! And how convincing was her performance! Gentlemen!... something tells me that finally we have a worthy successor to our mythical Oralia Dominguez"
- Lazaro Azar, Reforma Newspaper

"Cassandra Zoe Velasco as Isolier won the show! She ́s tiny but shows a big and dark voice! Sometimes this character is lost in many productions as second character but Cassandra kept always present as a noble servant, cunning and better lover. Her voice captivated because besides beautiful and solvent, she had the extraordinary ability to express a convincing reading of male psychology" 
- Hugo Roca Joglar, ProOpera Magazine

Angelina – La Cenerentola – Palacio de Bellas Artes

"... also with a voice that ran fine, it was a delight to listen Cassandra Zoe as Cenerentola. What a beautiful color! and how swiftly she dominated the final rondo "Non piú mesta".” 
- Lazaro Azar, Reforma newspaper

Second Lady – Die Zauberflöte – Los Angeles Opera

“The Three Ladies who really did slay the monster were... Velasco was particularly well focused and provided sumptuous harmony...” - Maria Nockin, Opera Today