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Undaunted by the vocal and theatrical demands of contemporary classical music, Amy Foote has performed everything from leading roles on the operatic stage to world premiers of contemporary chamber music. The SF Chronicle described her voice as “sinuous [and] bright-toned…chasing the melodic lines through all their twitchy variations without missing a turn.” She has performed with the SF Symphony's SoundBox Series, the SF Contemporary Music Players, Friction Quartet, Elevate Ensemble, Composers Inc., and Nonsemble 6, with whom she performed a memorized and staged version of Schoenberg's Pierrot Lunaire. Her solo work is inspired by the purposefulness of liturgical ritual, the stillness of John Cage, and the playfulness of the Fluxus movement.


San Francisco Chronicle  (Vixen // Cunning Little Vixen)

And Saturday’s large and varied cast could scarcely have been improved on. As the title character, Vixen Sharp-Ears, soprano Amy Foote gave a sinuous, bright-toned performance, chasing the melodic lines through all their twitchy variations without missing a turn and giving the entire role an alluringly silvery sheen.

Berkeley Daily Planet  (Vixen // Cunning Little Vixen)

As the Vixen, soprano Amy Foote was outstanding. Her voice rang forth clear and bright, and she moved about the stage with bouncy agility, suggesting the quickness of a fox.

The Mercury News (Vixen // Cunning Little Vixen)

..."Vixen" pulses on currents of wild energy, beautifully evoked in the fleet, feral performance of soprano Amy Foote in the title role…

San Francisco Classical Voice (Soloist with Elevate Ensemble)

[The] work featured soprano Amy Foote, demonstrating a fantastic range of vocal and theatrical abilities. [She] showed delightful phrasing...extraordinary comic timing and a vivacious sense of humor...

SF Examiner (Aperghis Recitations)

The performer was Amy Foote, who was as agile in responding to the broad spectrum of vocal demands that Aperghis imposed... There were also several theatrical approaches to her performance. Because much of Aperghis’ work involves experimental theater, it would be reasonable to assume that those approaches were specified in his score pages. Fortunately, Foote is as comfortable in dealing with theatrical demands as she is in jumping through all of the technical hoops that Aperghis had conceived. This is music that definitely deserves more opportunities for performance.

San Francisco Classical Voice (Elsie // Yeoman of the Guard)

Foote's accuracy, musicality, and diction were impressive... she was consistently excellent all the way through. 

The Northwest Reverb (Pierrot Lunaire)

Soprano, Amy Foote gave the audience the definitive lesson in hyper dramatic sprechstimme und sprechgesang. Her hysteria was as artful as it was giddy, fitting perfectly the text and delivered with flawless technique. The vocal world labels voices Puccini and Wagnerian; Ms. Foote may be setting the standard for Pierrot Sopranos, should the label ever catch on. 

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