(Mrs. Peachum, The Threepenny Opera, Weill)


"Michelle Trainor as Mrs. Peachum nearly stole the show every time she appeared on stage, which was not often enough. Loud, vulgar, with an outsized presence, she had the pizzazz the show desperately needed. (BTW, Trainor, a veteran of the BLO’s “emerging artist” program, is turning out to be the best dramatic soprano in town – just a couple of weeks ago she delivered a very fine Jocasta in Stravinsky’s “Oedipus Rex” for Emmanuel Music, an entirely different sort of role.)"

                                                        ~David Bonetti, Berkshire Fine Arts, 3/19/18


"The company assembled an excellent cast of young, singing actors who brought off to perfection the music, the dialogue and the comedy...Equally amusing was Michelle Trainor's outrageous performance as Polly's raucous mother.

                                                        ~Ed Tapper, Edge Media Network, 3/19/18


"Michelle Trainor playing Polly Peachum's mother was a Brooklynite-esque bravado that delivered both a ton of laughs and one of the more memorable pre-show announcements about cell phones I have seen in the theater."

                                                        ~Arturo Fernandez, Schmopera, 3/24/18


"Although rarely performed by a professional opera company, Boston Lyric Opera and Director James Darrah have brought together an ensemble of artists whose acting skills pair nicely with their stellar vocal talents to distinctively portray the cast of memorable characters.  Across the board, the characters are brought to life and Weill's score is beautifully conveyed by these major players...Michelle Trainor (Mrs. Peachum), oozing malevolence and the perfect helpmate to her husband."

                                                        ~Nancy Grossman, Broadway World, 3/20/18  


(Jocasta, Oedipus Rex, Stravinsky)


"No matter the tessituras, no matter the pianissimos or fortissimos, Jon Jurgens’ tenor vividly emotionalized the starring role in Igor Stravinsky’s neo-classic “still life,” Oedipus Rex. Sharing those qualities in the role of mother, Michelle Trainor engendered a Jocasta that will also not soon be forgotten. Tenderness dissolving into aches with one admission of sin after another all spelled out in touching tones of the remarkable tenor Jurgens. Defending her son, then her husband, Trainor’s Jocasta soared into an unmistakable orbit of true maternal instincts. Singing in her deep soprano register terrified, while elsewhere her confutations of the oracle’s capability of telling the truth intensified in higher voice; it seemed no one could have been better cast." 

                                                        ~David Patterson, The Boston Musical Intelligencer, 2/24/18 


(Helen McDougal, Burke and Hare, Grant)

“The evening’s most truly disturbing moment came when Burke and Hare’s ladies, both sung and acted to despicable, harpyish perfection by Michelle Trainor and Heather Gallagher, stripped off a trembling Slattery’s hat and jacket before his character’s (unstaged) murder.” 
                                                              ~Zoë Madonna, Boston Globe, 11/10/17

“Filling out the cast were Michelle Trainor and Heather Gallagher, who sang rich and glowing phrases as Burke and Hare’s companions, Helen McDougal and Margaret Hare respectively.”
                                                               ~Aaron Keebaugh, Boston Classical Review, 11/9/17

“As viciously funny partners in crime, Margaret Hare (soprano Heather Gallagher) and Helen McDougal (soprano Michelle Trainor) exist in the musical realm of the lower-class musical hall and pantomime: their hysterical duets build tension and propel all of the other characters toward their tragic destinies.”
                                                               ~Laura Stanfield Prichard, The Boston Musical Intelligencer, 11/11/17

“Early on, the somewhat bumbling duo of Burke and Hare hatch the idea of the crime scheme with their partners, played by soprano Michelle Trainor (Helen McDougal) and mezzo-soprano Heather Gallagher (Mrs. Hare). Both Trainor and Gallagher are as convincing in operatic range as they are in their character’s glee. Both delivering a ‘devil may care’ fun in their rough body language with their partners, showing their greed as they envision what to buy with their expected new riches.”                                                                     
                                                                ~Doug Hall, ZEALNYC, 11/10/17


(Marcellina, Le Nozze di Figaro, Mozart)


"Marcellina and Basilio were given finely etched characterization by Michelle Trainor and Matthew DiBattista, respectively, though they were both shorn of their arias."

                                                                ~Angelo Mao, Opera News, 4/28/17

“As Marcellina soprano Michelle Trainor also delivered a brilliant performance.  An ebullient comedian, she stole every scene she was in with her pure joie de vivre.  I will always remember her in her iridescent (green and mauve) gown doing an exuberant twist in the wedding party scene.  Trainor has a big voice, which she has learned to modulate for the space and her company.  An alumna of the BLO’s emerging artist program, I suspect she will have a big career.”
                                                                ~David Bonetti, Berkshire Fine Arts, 5/6/17


“Michelle Trainor as Marcellina has a gift for comic timing and her facial expressions provide another level of commentary at every turn.”
                                                               ~Katrina Holden-Buckley, The Theatre Times, 5/4/17

“Michelle Trainor made a delightful Marcellina, equally fine trading barbs with Susanna and embracing her long-lost son, Figaro.”
                                                               ~Jonathan Blumhofer, Artsfuse, 5/7/17

“…overshadowed by the comic genius and energy of Michelle Trainor’s stentorian Marcellina…you bring out a cast of singers so marvelous that one would be lucky to hear them do “Marriage of Figaro” anywhere they offered it.”
                                                                ~Zoe Madonna, The Boston Globe, 5/2/17

“Michelle Trainor sounded great…seemed to have real fun in the role of Marcellina.”
                                                                ~Ed Tapper, Edge Media Network, 5/1/17

(Ghita, Der Zwerg, Zemlinksy)

“Michelle Trainor’s warm steady tone cast a maternal glow on Ghita.”
                                                                ~Kevin Wells, Bachtrack, 4/16/17

“Excellent cast of singers…Michelle Trainor was a warmly empathetic Ghita.”
                                                               ~ Steven Ledbetter, The Boston Musical Intelligencer, 4/17/17

(Brangain, The Love Potion, Martin)
 
“Michelle Trainor displayed a powerful, penetrating soprano as Brangain.”
                                                                ~Heidi Waleson, The Wall Street Journal, Through 11/29/14

 “Michelle Trainor’s Brangain was a force of nature.  Martin gives her much music of despair, and Trainor made the most of her brief moments of high drama.”
                                                                ~Brian Schuth, The Boston Musical Intelligencer, 11/20/2014

 “tremendously moving…the outstanding Trainor”
                                                               ~Jack Craib, The South Shore Critic, 11/20/14
  
 “Michelle Trainor distinguished herself as a compellingly torn Brangain”
                                                              ~The Hub Review, 11/22/14

 “All of the Boston Lyric singers were excellent…superb soprano Michelle Trainor”
                                                              ~Benjamin Pesetsky, Classical Voice America, 11/22/14

 “Strong, too, was Michelle Trainor, as the fiery, remorseful Brangain.”
                                                              ~Jonathan Blumhofer, Arts Fuse, 11/21/14

 (Hagar / Clemency, Schubert/MacMillan)

 “Soprano Michelle Trainor as Hagar is joined by the piano of Brett Hodgdon in this most appropriate of Schubert songs, with Trainor in fine voice, full of passion and emotion, with beautifully clear diction and moving from fierce emotion to a sudden lighter Schubertian vein with consummate ease.”
                                                            ~Bruce Reader, The Classical Reviewer, 11/5/14

 “And soprano Michelle Trainor, who gave a delightful comic performance last season in John Musto's Inspector, proved herself equally adept at drama as Hagar in Schubert's Lament.”

                                                            ~Kalen Ratzlaff, Opera News, May 2013

 “Michelle Trainor (soprano) was heartbreaking as Hagar.”
                                                             ~Susan Blood, Bachtrack, 02/11/2013

“Michelle Trainor displayed a forceful soprano voice as Hagar”
                                                          ~ Jeremy Eichler, The Boston Globe, 02/072013

“Soprano Michelle Trainor’s performance was spell-binding and intense, and she negotiated some rather awkward writing for voice with confidence.”
                                                            ~Brian Schuth, The Boston Musical Intelligencer, 02/07/20013

 "Hagar’s Lament" was staged, and featured Michelle Trainor as soloist. The dramatic soprano has an impressively scaled voice…She intoned the long lines of dramatic recitative with style and nobility.”
                                                             ~Ed Tapper, The Edge, 02/10/2013

 (Bombalina, John Musto’s The Inspector)

 “…a cast possessing solid vocal skills and dead-center comic timing, is a rare animal indeed...The double-dealing directors and directresses in charge of city services were sharply drawn by a fine quartet of performers – Michelle Trainor, a charming, always-aflutter education administrator who couldn’t care less about children…”
                                                               ~Opera News, 04/20/2012


“Michelle Trainor nails the Montessori-addled educator.”                                                                                                     

                                                               ~Thomas Garvey, The Hub Review, 04/26/2012

 (Mendelssohn’s A Midsummer Night’s Dream)

 "Kudos, too, to the sextet of singers headed by Michelle Trainor and Tania Mandzy; they made their own magic out of Mendelssohn’s score"
                                                                 ~The Boston Phoenix, 04/25/2011

(Tosca, Puccini’s Tosca)

"Michelle Trainor as Tosca...exhibited both vocal virtuosity and superb acting...Trainor presented Tosca as a passionate yet jealous lover, creating gentle vocal phrases of love and hope, as well as almost terrifying spurts of envy through well-supported arias of passion...Trainor’s romantic zeal..."
                                                                ~The Harvard Art Review, March, 2010

(Contessa, Mozart’s Le Nozze di Figaro)

“Michelle Trainor displays an intense and full-bodied vocalism. A good technical skill and an equally praiseworthy stylistic accuracy permit her to adapt to the prescribed lyricism, producing good results both in the articulation of the most intimate and intensely sorrowful legato lines, as in “Porgi amor,” as well as in the refined chiseling of restrained coloratura.”
                                                                 ~Filippo Tadolini, Operaclick, 8/1/2007

(Composers in Red Sneakers Concert - Songs by Howard Frazin)

“Michelle Trainor’s soprano voice…boasted a huge yet flexible sound and excellent diction.”
                                                                  ~New Music Connoisseur, 11/9/2007

 “Two operatic “interludes,” [in a dance concert] performed with theatrical flair by soprano Michelle Trainor, shocked the ear yet roiled the soul after the understated dances.”
                                                                 ~Thea Singer, The Boston Globe, 10/8/2007

"[Michelle] Trainor's powerful singing and dramatic delivery..”
                                                                  ~The Boston Phoenix, 10/9/2007