Handsomely performed in a Voices of Music concert over the weekend, the piece proved compelling from beginning to end. Soprano Stefanie True gave a radiant lead performance, on Sunday evening at the St. Mark’s Lutheran Church in San Francisco… In the first of her vividly wrought solos, True unfurled a clean line, both pretty and incisive, to epitomize the music’s fleshy reality and ethereal shimmer. Her tight trills and melismatic decorations felt purposeful and essential. A melodic exchange with the strings, in a subsequent aria, took on the quality of a meditative conversation, punctuated here and there by single detached notes. The effect was that of a sorrow so penetrating it could barely be uttered aloud… Nothing fully prepares one for the quietly ravishing final pairing, “When my body dies.” Spun out over a hypnotic string sequence of falling broken chords, the duet soars and swoons achingly. True and Bragle both rose to the occasion, their voices vitally attuned and mutually responsive. A ringing, almost defiant Amen brought the performance and the evening to a stirring close.

…The two young sopranos, Stefanie True and Anna Kellnhofer, gave a performance that seemed in keeping with the sunny spring weather outside: fresh, lively and joyous… True’s beautifully balanced voice has a silvery brightness and excellent, sparkling high notes. The picture of fluttering feminine agitation with her graceful movements and gestures, she gave a very touching performance of Handel’s cantata Allor ch’io dissi addio, especially with some sweetly pathetic moments in the last aria, Il dolce foco mio.

…Fillide’s Fiamma bella is sung enchantingly by Stefanie True (worthy winner of the 2011 London Handel Singing Competition)…True poignantly expresses how an abandoned lover wishes for death to bring an end to their fierce pains (‘Dunque se il tanto piangere’). In Clori, mia bella Clori, violins converse beautifully with True (Mie pupille se tranquille).

….as the main soprano… here they use the lovely Stefanie True. Her voice is flexible, versatile and exceptionally wide-ranging in its expressive quality. She clearly shows, through such well-shaped phrasing and use of dynamics, a real understanding of the needs of this music. Let’s face it, it’s taken a couple of generations for performers to get a handle on the ‘ars subtilior’ composers but it’s finally happening.”.

…A cast of young singers step gamely up to its challenges though, with the stand-out performance of the evening coming from Canadian Stefanie True whose technique anchors a sweetly flexible soprano. Her sugary, almost unbearably Disneyfied Oriana is balanced by Judith Gauthier’s Melissa…

Soprano Stephanie True was lovely as Oriana, although I prefer the role to be set off by a pair of countertenors as her rival lovers. At any rate, the highlight for her is a lament in the second act “S’estinto è l’idol mio” when she finds her beloved Amadigi seemingly dead. Again, baroque gestures, expressive as they were, seemed to distance her from the intense emotion of the moment, although at the da capo, as she finally caressed the inert Amadigi, the overwhelming grief of the moment finally came through.

…I’m sure she’s heard this before, Canadian soprano Stefanie True couldn’t have a more perfect name to describe her spot-on intonation and impeccable vocalism. And although I’ve said this many times, there must be something in the water/air/soil/psyche of Canada and Canadians to so consistently produce such world-class singers as represented in True’s extraordinary performances here (her exemplary technical and interpretive display in the twists and turns of Love and Resentment is worth the price of the disc).

Stephanie True’s bright soprano Theodora was a tortured soul, bravely resigned to her fate in a moving performance….A collection of first-rate Handel performers performing as a team produced a special Baroque night to savour.

The vocalists were on the mark, highlighted by the brief appearances of Stefanie True as the First Nymph in the aria “How happy the lovers” from King Arthur and the Second Woman in Dido and Aeneas. She has the wherewithal to project her voice in a way that overcame the tricky acoustics of the hall. To my ears, she was the only soloist whose voice had the right color: the color we have come to expect from vocalists singing music of the Baroque period.