The New York Times

George Benjamin's Upon Silence with Orchestra of Saint Luke's

With her dramatic tumble of red hair and cello-mellow voice, Ms. Fischer sings with a passionate restraint that has no equal in her generation. You didn’t want her to stop.

Time Out New York

#3 in Best Performances of 2012

Missy Mazzoli’s dreamlike opera lived up to great expectations and made a star of Abigail Fischer.

Time Out NY (2012)

Song from the Uproar, 2012)

Gracefully androgynous, mezzo-soprano Abigail Fischer makes for a spellbinding heroine. Her throbbing, claret voice turns raw with pain against the blistering sound of the electric guitar when she learns of her husband’s betrayal, and her face glows from within as she hails the “blanket of blazing stars” ready to welcome her in death.

The Boston Musical Intelligencer (2013)

Boston Baroque's Lord Nelson Mass

Mezzo-soprano Abigail Fischer has a voice that reminds me of Kathleen Ferrier, but a bit firmer and gathered.

JSOnline (2013)

Present Music with Kamran Ince

Abigail Fischer’s burnished mezzo-soprano won the evening’s vocal honors against tough competition.

Wall Street Journal (2012)

Song from the Uproar

Missy Mazzoli’s opera “Song From the Uproar: The Lives and Deaths of Isabelle Eberhardt,” in its world-premiere engagement at The Kitchen, was also centered on a very potent singer, mezzo-soprano Abigail Fischer, whose throbbing low register and open-hearted performing style reminded me of Lorraine Hunt Lieberson.

JSOnline (2013)

Present Music with Kamran Ince

Abigail Fischer’s burnished mezzo-soprano won the evening’s vocal honors against tough competition.


Nico Muhly's Elements of Style at the NY Public Library Reading Room

The work was impressively executed by [mezzo] soprano Abigail Fischer.

Democrat and Chronicle

Mrs. Lovett in Sweeney Todd with Eastman Opera Theater

. . . a gift for comic acting

Third Coast Daily (2013)

Present Music with Kamran Ince's Judgement of Midas

Fischer, as Franny, got most of the good punch lines and she knew what to do with them.


The New Yorker

Orchestra of St. Luke's for the NY Phil Biennale

The mezzo Abigail Fischer sang (George) Benjamin’s ‘Upon Silence’, a Yeats setting, with spiritual fire.

The New York Times (2013)

Gotham Chamber Opera and Missy Mazzoli conspire at LPR

If the “Song From the Uproar” selections felt most urgent, that was largely because of the involvement of the serenely captivating mezzo-soprano Abigail Fischer, for whom Ms. Mazzoli wrote the piece and who invested everything she sang with rapt concentration and velvety, even tone. And disarming intimacy, too: Mahler’s “Ich bin der Welt abhanden gekommen,” in George Lam’s arrangement for voice, piano and clarinet, might have been a cabaret torch song.

New York Times

Gotham Chamber Opera's production of Monteverdi's Combattimento

...luminous-voiced mezzo-soprano Abigail Fischer...

The New York Times

premiere of Lee Hoiby's opera This is the Rill Speaking at Symphony Space

Among a solid cast of young singers, Abigail Fischer, a mezzo-soprano, stood out for her attractive tone, abundant feeling and clear diction.

Stage Magazine

Mercadante's I Due Figaro

One of the highlights of the evening was Abigail Fischer, whose Cherubino was nothing short of stunning. She commandeered a perfect balance of ornamental ease and velvety legato that made me want to listen for hours. Although her Act 1 aria was beautiful, her aria in the second act is one that will leave you breathless. One particular note of longing (for Inez) was so powerful that it reverberated in my sternum. Fischer has given us a heartfelt and mature Cherubino, a far cry from the boy we knew before. Her performance was outstanding.

The New York Sun

This is the Rill Speaking

Outstanding in the cast was Abigail Fischer, a mezzo with abundant red hair — and many other gifts. She has an unusual, arresting voice, a solid technique, and plenty of musical smarts. She managed to be elegant and spunky at the same time.

St. Louis Today 

La Cenerentola at Union Avenue Opera, St. Louis

As Angelina, d.b.a. Cinderella, mezzo-soprano Abigail Fischer made an appealing heroine. She’s a real coloratura mezzo, with an attractively dark sound and a good technique. To go with it, she has a pre-Raphaelite abundance of red-gold curls, a pretty face, slender figure and likeable persona.

Democrat and Chronicle

after Beethoven's Missa Solemnis with Eastman Orchestra)

Mezzo-soprano Abigail Fischer has a plush, luxurious voice and sang with unfailing sensitivity (the silvery sound she lent to the Gloria was especially gratifying).

Classical Voice of North Carolina

Memorial concert for Jennifer Fitzgerald, Duke University

Mezzo-soprano Abigail Fischer peeled the paint off the ceiling as she filled the house with incredible sound. Her performance of “Fingers 1” (2007) wasn’t just passionate, it was thrilling!

New York Times (2012) 

Missy Mazzoli's Song from the Uproar at the Kitchen

The mezzo-soprano Abigail Fischer as a riveting protagonist. In the emotional efficacy and irresistible magnetism of Ms. Fischer’s performance and in the electric surge of Ms. Mazzoli’s score you felt the joy, risk and limitless potential of free spirits unbound.

New York Times

American premiere of Mercadante's I Due Figaro with Amore Opera

The cast and chorus were talented and confident, led by the poised, rich-voiced Cherubino of the adventurous mezzo-soprano Abigail Fischer.”

Huffington Post (2012)

Song from the Uproar

Fischer has a thrilling and distinctive voice and gives her all in a committed, vocal performance.”

Opera News

Mercadante's I Due Figaro

As a delicious Cherubino, Abigail Fischer had a tall, slender figure that suited the officer-in-disguise, and her throaty mezzo pleasurably filled the theater.

Opera Obsession

Mercadante's I Due Figaro

Mezzo Abigail Fischer, in the central role of Cherubino, was the vocal standout of the evening. Fischer has a distinctive timbre and impressive range, and sang with dynamic and dramatic nuance. She also incarnated Cherubino’s impishness delightfully, with swagger that was a pleasure to watch. Her Act II aria was a highlight of the evening, enveloping us all in Cherubino’s dreamy tenderness.


La Cenerentola at Union Avenue Opera, St. Louis

Ms. Fischer’s performance is pure brilliance... Ms. Fischer sounded completely comfortable with both its range and ornamentation. She has power and flexibility to burn and respectable acting chops as well — a fine performance all the way around.

The Boston Globe 

Stravinsky's Cat's Cradle Songs at Tanglewood Music Festival

Mezzo Abigail Fischer’s sound was sumptuous in ‘Cat’s Cradle Songs’.

Music & Vision

Stravinsky at Tanglewood

The elegant Cat’s Cradle Songs (1915) were a winning showcase for the wonderfully rich mezzo-soprano of Abigail Fischer whose plush vocal quality is similar to Frederica von Stade.