Praise for "Emalie Savoy: A Portrait":

“Her sound is gleaming and full-bodied, accompanied by excellent musicianship...the sound is ravishing.”

– Opera News


"From the beginning, she has one sitting up and pricking up one´s ears...There is voluptuousness in Savoy's voice when she caresses the words in Asie, the magic in La flûte enchantée and the warmth of L’indifférent...the first-class recording and the beauty of this voice, make this one of the best readings of this cycle...this is glowing singing."

- MusicWeb International


Metropolitan Opera debut as Kristina in Janáček's The Makropulos Case:

"There were vocally strong and dramatically rounded performances from...the bright-voiced soprano Emalie Savoy, in her Met debut, as Vitek's daughter, Kristina..."

– The New York Times


"The lovely soprano Emalie Savoy made a fine house debut as the young ingénue Kristina..."

–The Classical Review 


Soprano soloist in Mendelssohn's Paulus with the Oratorio Society of New York at Carnegie Hall:

"The star of the evening was the young soprano soloist, Emalie Savoy."

– The New York Times 

Soprano Soloist in Benjamin Britten's War Requiem at Carnegie Hall:

"The soprano Emalie Savoy brought gleaming richness to the solo parts in the Latin texts."

 - The New York Times 

Céphise in Rameau's Pygmalion with On Site Opera: 

"Emalie Savoy's delicate, affecting portrayal of the heart-broken Céphise was as eloquent in silence as in her sweetly clear singing."

- Opera News 


"The Soprano Emalie Savoy was affecting as Céphise..."

– The New York Times 

Queen Isabella in de Falla's Atlántida with the New York Philharmonic: 

"Emalie Savoy, a splendid young soprano, was typically excellent in Isabella’s aria in the Falla."

- The New York Times


"Singing the aria of Queen Isabella, soprano Emalie Savoy (who recently made a promising Met debut in The Makropulos Case) brought a dawning tone to the music, singing in shades of cobalt and lavender with serene longing."

- WQXR, Operavore

Armide in Gluck's Armide with MET+Juilliard:

"As Armide, an alluring, power-hungry sorceress who is also Princess of Damascus during the First Crusade, the gifted soprano Emalie Savoy sang with plush sound, fiery temperament and cool elegance. This Met young artist seems ready for the title role should the Met decide to present the work. It should."

- The New York Times

Armide in Gluck's Armide and Fiordiligi in Così fan tutte with MET+Juilliard:

"Opera buffs had chances to hear the remarkable Ms. Savoy last year in two collaborative productions between the Juilliard Opera Theater and the Met’s Young Artist program. In November she was a vulnerable and vocally lustrous Fiordiligi in an imaginative production of Mozart’s “Così Fan Tutte,” directed by Stephen Wadsworth and conducted by Alan Gilbert. And early last year she sang the demanding title role in Gluck’s seldom heard “Armide.” That Ms. Savoy has the right combination of vocal allure, majesty and passion for this role she showed again on Sunday in her account of Armide’s intense final scene."

- The New York Times 

Fiordiligi in Così fan tutte with MET+Juilliard:

"The Soprano Emalie Savoy brings a luminous and touching vulnerability to Fiordiligi."

- The New York Times

Ariadne in Strauss's Ariadne auf Naxos with the Tanglewood Music Center:

"Emalie Savoy was such a standout...riveting and showed fine control and attractive flexibility with her voice as well as her acting."

- Albany Times Union


"Emalie Savoy, a sterling young soprano...displayed a good, clear, strong voice, well supported technically, as she did in concert performances last spring."

- The New York Times

Madame Lidoine in Poulenc's Dialogues of the Carmelites with Juilliard Opera:

"As her successor, Madame Lidoine, Emalie Savoy produced a velvety tone that conveyed her character’s philosophical grounding..."

- The New York Times