© 2019 by SAMSON

press.

“Ms. Geller is a thrilling contralto, tripping off high and low notes as she tips around in her spikes.”

- Susan Hall, ConcertNet.com

mother / chunky in heat

Experiments in Opera 2019

"As Mother and Father, contralto Emily Geller and baritone Joshua Jeremiah brought layers of complexity to their seemingly shallow and emotionally stunted characters."

- Steven Jude Tietjen, Opera News

"The woman they described was well masked (at times literally to keep down the swelling from the treatments) in Emily Geller’s mother, who was all brittle glitz and efficiency. Geller possesses an amazing mezzo-soprano voice with a lower extension that has to be heard to be believed. At times, it could be cold, almost masculine sounding, but warm and dreamy at others. The mother has a short aria in which she relates that all of Billy’s goldfish died on the same day he did, but that she has replaced them over and over again. It was a simple and beautiful moment, in which Geller let the audience have a glimpse into the woman’s soul."

- Rick Perdian, Seen and Heard International

"As the mother, Emily Geller is busy warding off sorrow with botox, the plastic surgeon’s knife and starvation. Ms. Geller is a thrilling contralto, tripping off high and low notes as she tips around in her spikes."

- Susan Hall, ConcertoNet.com

"Everything about this production is so uniformly superb it’s hard to single out an individual for praise."

- James Jorden, Observer

alto soloist / messiah

OGCMA Sacred Masterworks 2019

"The soloists were superb. ... Emily Geller with her mesmerizing low pitched mezzo voice..."

- Paul Goldfinger, Blogfinger

oreste / la belle hélène

Opera North 2017

"Mezzo-soprano Emily Geller was an effervescent delight in the pants-role of Oreste."

- Jim Lowe, Times Argus 

"Emily Geller, wisely cast as Helene’s cousin Orestes, conveys a playboy-posh swagger as only a woman can. Kurt Domoney’s deft choreography amplifies Geller’s knack for comedy: At one point, she unleashes a saucy dance on a tabletop that elicited peals of laughter from the audience."

- EmmaJean Holley, Valley News 

ma moss / the tender land

Opera North 2015

"Emily Geller, who was a stand-out in last year’s Opera North production of Kurt Weill’s Street Scene, is affecting as Ma Moss, particularly when she flashes back to Laurie’s childhood."

- Nicola Smith, Valley News

"All of which left plenty to the imagination and drew me to one character, Ma Moss (Emily Geller). A little sour, wary, distrustful, maybe a slightly upscale version of the migrant mother in the famed Dorothea Lange photo, with that same tiredness of soul."

- Susan Apel, The Upper Valley 

"...Ma, given real gravitas — as well as desperation — by contralto Emily Geller."

- Jim Lowe, Times Argus

mrs. emma jones/ street scene

Opera North 2014

"Emily Geller, as the loquacious, nosy neighbor Emma Jones, comes dangerously close to stealing the show with her effortless comic delivery."

- Nicola Smith, Valley News 

orlofsky / die fledermaus

Tri-Cities Opera 2014

"A raised glass of champagne for all the leads... Emily Geller as Prince Orlofsky (a “trouser role” conventionally played by a woman) [is] to be especially commended."

- Lee Shepherd, Broome Arts Mirror

mercédès / carmen

Tri-Cities Opera 2013

"As Frasquita and Mercedes, Carmen’s gypsy cohorts, Melanie Leinbach and Emily Geller showed strong voices and presented a convincing and musically appealing Act III Card Scene... [The boys'] Act II quintet with Carmen, Frasquita and Mercedes was a musical highlight."

- Tony Villecco, Broom Arts Mirror 

ensemble / macbeth

LoftOpera 2016

"The Witches’ Chorus was admirably animated and creepy, doing fine justice to the detailed musical treatment Verdi gives them ... effectively controlling and pervading everything in the mortal world around them."

- Charles Geyer, La Scena Musicale 

"The chorus must also be commended for jumping around from the roles of witches to murderers to party guests to exiles. They sang brilliantly and cohesively throughout the night."

- David Salazar, Operawire 

"The chorus had much to do here, portraying the witches as terrifying goth girls gone wrong... The most moving part of the whole show was the Act IV chorus 'Patria oppressa...'"

- Paul J. Pelkonen, Super-conductor 

"The women were particularly admirable for their versatility, shifting on a dime from the witches’ snarling prophecies to the heartbreaking pathos of Verdi’s chorus of Scottish exiles."

- James Jorden, Observer

katisha / the mikado

CR Productions 2010

"Every detail has been tended …But all of that doesn’t add much if the cast can’t sing. This one can… Emily Geller, for example, brings a gravity to the mirthless Katisha…"

- Michael Eck, Times Union

"Geller gives depth to her maleficent character in the moving ballad ‘Alone, And Yet Alive!’"

- Carol King, Daily Gazette 

"Also making valuable contributions is Emily Geller who is excellent as she makes the fierce Katisha the fiancée from hell."

- Bob Goepfert, Troy Record

duchess / the gondoliers

College Light Opera Company 2008

"Emily Geller is delightfully over the top…"

- Gwenn Friss, Cape Cod Times

"Also superb was Emily Geller as the Duchess of Plaza-toro. Her extravagant wigs and outrageous costumes add zaniness to this wonderful comic role."

- Marilyn J. Rowland, Falmouth Enterprise 

queen of the fairies / iolanthe

College Light Opera Company 2008

"The Queen of the Fairies (a regal and radiant Emily Geller)…"

- Gwen Friss, Cape Cod Times

"Ms. Geller makes a wonderful queen, creating a wise, but quirky and self-centered leader, who is most enjoyable to watch and listen to."

- Marilyn J. Rowland, Falmouth Enterprise

miss jones / how to succeed in business without really trying

College Light Opera Company 2008

"Emily Geller is outstanding as the straight-laced Miss Jones…"

- Marilyn J. Rowland, Falmouth Enterprise

kate / the pirates of penzance

Harvard-Radcliffe Gilbert and Sullivan Players 2004

"…Emily Geller who boasts perhaps the strongest voice as Mabel’s sister Kate…"

"The cast as a whole demonstrated a great sense of comedy… the sold out audiences speak as loudly to the ability of this particularly gifted cast."

- Emily G.W. Chau, Harvard Crimson