The Cunning Little Vixen (Janáček) , dell'Arte Opera Ensemble, NYC "In the title role, Rachel Hall was simply astonishing. She sported a warm soprano of full body, easy fluidity, and perfectly consistent tone, wonderfully liquid in her middle range, and just as comfortable ranging freely at her top. There was an admirable self-assurance in her portrayal of the vixen, with an endearing playful side to match. She was completely alive to every moment on the stage—one of those rare actors who are a treat to watch even when they’re on the sidelines. As she observed her fellows, her subtle reactions and facial expressions portrayed a world of thoughts and emotions."
Eric C. Simpson, New York Classical 8/20/17
"As the Vixen, Manhattan School of Music graduate Rachel Hall gave a breakout performance, meeting the stiff vocal and dramatic demands of this high-lying role [...] Ms. Hall was the right mix of funny fox and serious heroine. She invigorated the show from her entrance, giving a rich and complex portrait of a young idealist (in this version, she frees the Forester's chickens instead of slaughtering them), a woman in love and at the end, a tragic heroine as she is killed in the third act."
Paul J. Pelkonen, Superconductor 8/24/17
"Rachel Hall in the role of the vixen is a force of nature. She has a gracefully huge voice, which she can use to invoke the vixen's will, and also transform to a coquette."
Susan Hall, Berkshire Fine Arts 8/26/17
"We haven't heard soprano Rachel Hall since her apprenticeship at Santa Fe Opera four years ago when we applauded her Norina. Her artistic growth is notable and we enjoyed her warm and rich soprano in the title role. Her phrasing honored the sound of the language and her acting was completely committed."
Meche Kroop, Voce di meche 8/24/17
Symphony No. 9 (Beethoven), Canton Symphony Orchestra “The choral finale was initiated by the wondrously ethereal voices of sopranos Rachel Hall and Maribeth Crawford, along with mezzo-soprano Kathryn Findlen, tenor Timothy Culver, baritone Britt Cooper, and bass Nathan Stark (the quartet of Hall, Findlen, Culver, and Stark would return for the fourth movement of Symphony No. 9)…This marvelous gathering of blissful, inspired voices paved the way to the evening’s most lofty summit.”
Tom Wachunas, ArtWatch BlogSpot 4/29/15
Ein deutches Requiem (Brahms), Canton Symphony Orchestra "The singing by both guest artists — baritone Brian Keith Johnson and soprano Rachel Jeanne Hall —was wholly impressive...The text for the soprano soloist is from Isaiah, promising the bereaved child the kind of comfort that a mother would offer. Befitting the image, Hall’s achingly sweet soprano tonality, warm and full, was a moving embodiment of maternal consolation.”
Tom Wachunas, Cleveland Classical 2/18/14
Le nozze di Figaro (Mozart), Santa Fe Opera
“Kittenish apprentice Rachel Hall was the perfect mate for ‘him’ as she sang her simple aria with a clear, sweet voice.”
Maria Nockin, Opera Today 8/19/13
“To end on an upbeat note, soprano Rachel Hall was a perfectly charming Barbarina."
David Gregson, Opera West 8/14/13
“As Barbarina, Rachel Hall displays a clear soprano with deeper overtones that foretells a fine career. She plays her as more innocent, maybe clueless, than as a scheming coquette.”
Gregory Sullivan Isaacs, Theater Jones 8/10/13
“Of course, one of the purposes of mounting Figaro is to give one of your apprentices a shot at the role of Barbarina, with its gorgeous little aria, and second-year apprentice Rachel Hall acquitted herself beautifully with a charming stage presence and musically nuanced, clear soprano.”
Charles T. Downey, Ionarts 8/5/13
“Soprano Rachel Hall, made an alluring and devious Barbarina.”
James M. Keller, Santa Fe New Mexican 6/30/13
"Apprentice Rachel Hall was just as adorable as Barbarina should be and has a promising voice. We hope to hear more of her. "