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Soprano Cree Carrico is “a notably versatile performer” and “sensational actress” who is continuously praised by critics for her “crystal clarity at the center of every note” making it “hard to watch anyone else when she’s on stage.” As a lead interpreter of 20th and 21st century works, Carrico collaborates closely with a number of composers and librettists and performs in many premières of contemporary pieces, including the New York première of Jake Heggie’s monodrama At the Statue of Venus.  Since then, Carrico has sang Lisa in Little and Vavrek’s Dog Days at the Opera America New Works Forum and has also performed on Royce Vavrek and Lauren Worsham’s 21st century downtown salon, The Coterie. Additionally, during BAM’s Next Wave Festival, Cree appeared on both nights of Beth Morrison’s 21c Liederabend, op. 3, singing Julian Wachner’s Come My Dark Eyed One, and sang the world première of Marie Incontrera and Royce Vavrek’s Albert, Bound or Unbound. [read more...]


"...brilliantly revealed Stella’s mixed and troubled emotions...” – Rutland Herald

A Streetcar Named Desire – “Soprano Cree Carrico brilliantly revealed Stella’s mixed and troubled emotions.”


"...her crystal-clear soprano-belt mix... – Opera News

The Difficulty of Crossing a Field – “Carrico, a notably versatile performer, plays up the humor in her part with a girlish impetuosity that spills naturally from her crystal-clear soprano-belt mix.”


"...hard to watch anyone else when she’s on stage..." – New York Classical Review

Morning Star – “Cree Carrico, meanwhile, brought a bright soprano and wide, winging phrases as Esther. She is, moreover, a sensational actress; there is an irrepressible brightness in her spirit, and it’s almost hard to watch anyone else when she’s on stage. Even in her reactions to other characters, she hints at a rich inner life with just the flitting of her eyes, or the quick bite of a nail.”


"...produced a voice which was vibrant and powerful..." – Jamestown Post Journal

Ballad of Baby Doe – “Lovely Cree Carrico, in the title role, is slender and small in stature, yet she produced a voice which was vibrant and powerful in its middle register, and which soared to a crystalline top, solid in sound, yet tempting us to expect an extremely high note, then seemingly effortlessly, rising even higher. Brava, diva!”


"...commanded the stage with her studied affectlessness...” – Opera News

The Rise and Fall of the City of Mahoganny – “Carrico, who had a gleaming, focused ping to her tone and a Louise Brooks haircut, commanded the stage with her studied affectlessness.”


"...Carrico's Cunegonde is more determined... well up to the vocal pyrotechnics..." – Opera News

Candide“Cree Carrico’s Cunegonde is a steelier, more determined creature and thus a perfect counterpoint to Bernegger’s Candide. She is well up to the vocal pyrotechnics of “Glitter and Be Gay,” vaulting to an interpolated high F in one run. Carrico makes the number a sincere attempt to pull herself out of despair, and the comic bits—an intransigent clasp, actually trying to dry her tears with a bracelet as the lyric suggests—are natural and earned.”



Adrienne Boris


Aaron Sanko


Nate Buckley

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