The most delicious singing comes from Michelle Drever as Donna Anna. Drever has a powerful soprano, but also the ability and taste to control her dynamics when the moment calls for it. She produces high pianissimos that seem to still the air around her. The results are exquisite and heart-rending.
Michelle Drever’s Donna Anna is...a tour de force. [She] commands the stage, equally impressing when singing barely above a whisper as well as when ringing forth in crescendos extraordinaire.
Drever's Violetta is a force of nature, acted and sung with compelling verve and deep-seated hopelessness. [She] is the rare combination of actor/singer for whom opera was intended but all too seldom [found].
[Violetta[ is a demanding role that had to be sung with accuracy, control, color, dynamics, and phrasing. Michelle Drever was that diva, delivering brilliant vocal fireworks. She nailed the de rigueur high E-flat and [later] transformed her voice into a lirico-spinto, her potent stage presence enduring to the end.
Michelle Drever not only brings big-stage vocals whose power increases as the scenes unfold, but she is also a fabulous actress, providing an authenticity to her Violetta that is breathtaking. She alternates waves of weakness and renewed strength, [her voice] nothing less than celestial in [its] sheer beauty.
Drever proved a stunningly imperious yet affectionate Susan B., exactly what Gertrude Stein seemed to have had in mind (and exactly the way I pictured Stein herself). The soprano may have had more of a traditional operatic voice than Thomson professed he needed, but, in fact, over the objection of the conductor Thomson had chosen a singer (Dorothy Dow) for the premiere who was very much like Drever.
Los Angeles Times
Her facial expressions – especially her lips and eyes – are a libretto unto themselves.