Michelle Trainor in the Press

“Amid a big cast, there were some piquant turns in tiny roles from the tenor Peter Hoare, the soprano Michelle Trainor, the mezzo-soprano Maria Barakova and the bass Goran Juric” 

~01/2024 The New York Times

“Among her victims are the resistance member Ofglen, given understanding and sense by Michelle Trainor.  They are not alone in their excellence in a 16-person cast…”

 ~ 05/10/2019, David Allen, The New York times

“The cast is immaculate…Michelle Trainor steals the show as Princess Batcheat.”

 ~02/2021, Guy Richards, Gramophone

“Michelle Trainor provided a ringing mezzo [soprano] and fine comic chops, particularly in Berta’s aria, “Il vecchiotto cerca moglie.”

 ~ 10/12/18 Angelo Mao, Opera News

“Michelle Trainor who sings Bénoni, Adoniram’s apprentice, with grace.”

 ~10/2021 Mark Pullinger, Gramophone

"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

..."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.”

“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

"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

“Michelle Trainor’s warm steady tone cast a maternal glow on Ghita.”

 ~Kevin Wells, Bachtrack, 4/16/17

“Michelle Trainor displayed a powerful, penetrating soprano as Brangain.”

~Heidi Waleson, The Wall Street Journal, Through 11/29/14

“As it stands….Michelle Trainor’s beautiful singing of the Lament — and you could hardly ask for a finer sense of diction, quality of tone, or purer intonation than she delivers.”  Artsfuse 07/2015