English:
“The well dressed young black singer, Wendy Waller – even “by herself” outperforms with her style the elaborate scenery.......Obviously, the virtual Man, or in the case of Bluebeard the little boy, both announce ‘unattainable desire’. And since Wendy Waller has the ability to express a Woman’s physical and emotional aloneness, in other words, a Woman’s spirituality, the relationship’s impossibility is musically expressed with such dramatic strength as is in the case of Bartók’s opera”. La Voix Humaine — SZINHÁZ
“The black singer (Wendy Waller) was very sympathetic and has a gorgeous voice. She performed with feeling, truly absorbed totally in the role. She sang with overpowering emotion but with ease”. La Voix Humaine — UJEMBER KATHOLICUS
“The American Wendy Waller was convincing in the title role. There was a great deal of applause at the premiere. Wendy Waller is lady-like without resorting to Diva-ish flourishes. She moves with familiarity in a world not normally hers”. The Merry Widow— SÄCHSICHE ZEITUNG
“…[a] pleasure for the senses [was] the slightly smoky timbred coloratura soprano of Wendy Waller — as capable of fury as of seduction”. Die Zauberflöte— OPERNWELT
“One of the most thrilling viewer magnets in the history of Vanemuine has undoubtedly been Wendy Waller in the role of the Queen of the Night in Mozart's Magic Flute.” —VANEMUINE THEATRE 100 YEARS COMMEMORATIVE BOOK
" Wendy Waller sang a coloratura aria that should strike terror in the hearts and throats of any subsequent interpreters of the role”. Les Négres —OPERA (UK)
“From this array {idiom] of talents, one must single out for particular honor{s} to soprano Wendy Waller, [who is] amazing in the stratospheric role of La Reine”. Les Négres —LE COURRIER
CD Génie Oblige!:
“Without the benefit of media hype, a major CD entitled Génie Oblige! Franz Liszt: Origin, Oeuvre and Legacy in Song has created great excitement among connoisseurs of classical vocal music. This collaboration between soprano Wendy Waller and pianist Margaret Singer was recorded in the historic city of Weimar, Germany.
Waller has a special affinity to the songs of Liszt. She has a ravishing voice and a vocal technique that can meet the demands of the most difficult music. One could not ask for a more exquisite execution of “Oh Quand je Dors,” based on a text by Victor Hugo. She captured the essence of this masterpiece.
In the fiendishly difficult “La gioia al fine faccia ritorna” from the opera L’Agnese by Ferdinando Paer (referred to in the program notes as a favorite of Liszt), Waller dazzled this listener with her vocal gymnastics. Throughout the recording, Margaret Singer was the perfect collaborator at the piano”. —
NEW YORK AMSTERDAM NEWS
“A loving all-encompassing hommage to Franz Liszt with the Fortepianos of the Beetz Collection 1808-77. A self-confident statement!” CD DES TAGES (CD of the day) —Radio Stephansdom, Wien
“Wendy Waller articulated with her phenomenal soprano [vocal] range the deepest depths and highest heights with astonishing polish, and when she produces the voice with narrow focus (fil de voce. (as a thread), lit.) she makes the listener freeze…..— DAS ORCHESTER, CD Review, Phoenix Resurrexit
Concert:
“Ah, Cry not my darling” is the text from Gustav Mahler’s song “Wo die schönen Trompeten blasen.” At the end (of the concert) once again Mahler’s five songs from Des Knaben Wunderhorn, sensitively interpreted by Soprano Waller, whose [voice] filled the hall with tender nuanced timbre. In the song of the starving child in “Das Irdische Leben” thanks to Waller’s empathetic interpretation of the text, goose pimples broke out on one’s skin” Des Knaben Wunderhorn —TLZ
[To} praise Waller’s vocal mastery, would be the same a preaching to the converted(germ. Idiom). Pity, that she only sang 5 songs from “Des Knaben Wunderhorn” of Gustav Mahler. THÜRINGER ALLGEMEINE
“Wendy Waller has a secure top range and sang a very beautiful vocalise". Carmina Burana — MANNHEIMER MORGEN
"Wherever starguest (artist) Wendy Waller goes, one wants to hear ‘her’ Queen of the Night. As it was with her European debut at the Weimar Nationaltheater six years ago, so it remained at the newly concluded Operafestspielen an der Brenz, and "Klassik Open Air". A more complicated opening number than the Vengeance Aria from The Magic Flute could hardly be imagined, but for this soprano— no problem. Her signature role exploded forth; the two treacherous high Fs beamed through the highly tuned sound system to the farthest reaches of the park. [That] she commands both fury and coloratura, was later illustrated by the encore of "Juliette's Waltz" from Gounod's Roméo et Juliette. Yet, Waller enriched [the evening's] more intimate folklore-laden moments like the Vilja Song and Rusalka's ‘Hymn to the Moon’ with revelatory renditions.” —Klassik Open Air —NURNBÜRGER NACHRICHTEN