Recent Acclaim

 

"d’Amato proved to be the very model of a talented sidekick, playing difficult passages with seeming ease but never overshadowing her partner… fluid and striking pianism.”
- Buffalo News, 2/2010; Lieder recital with faculty colleague Alexander Hurd.

 

"committed and sensitive performance… Pianist d’Amato provided model partnership.”
- Buffalo News, 4/2009; Premiere performance of the Heine Liederzyklus by composer and Holocaust victim Marcel Tyberg, a rediscovered 1926 song cycle comprised of 21 songs from poet Heinrich Heine’s “Lyrical Intermezzo” collection.

 

"Music Director Alison d’Amato played up a bel canto storm on the piano and clearly had enjoyed a productive week preparing the cast for a memorable performance.”
- Opera Canada, Dec/Jan 2008-2009; Opera in Concert performance of Donizetti’s opera Roberto Devereux.

 

"The Faure piece was played very well, with special kudos going to pianist Alison d'Amato… D'Amato's [sic] digital precision was on show during the work's second movement.”
- Buffalo News, 5/2008
Guest appearance with Buffalo Chamber Players in performance of Faure’s Piano Quartet in g minor.

 

"The strength of Opera in Concert's costumeless, setless, only symbolically staged presentation Sunday was the authoritative grasp of the whole work by its music director Alison d'Amato, who accompanied it valiantly on the piano; and the striking realizations of Poulenc's central characters by the five singers who portrayed them.”
- Opera in Concert performance of Poulenc’s Dialogues des Carmélites; Globe and Mail, 11/2006

 

“The program itself was a masterstroke of careful pacing and stylistic counterpoint… D’Amato proved a fluid, flexible accompanist with…[an] easygoing dramatic flair…Art doesn’t get any more moving than this, regardless of the price of admission.”
- Toronto Star, 5/2006; Recital with Lynne McMurtry, focusing on settings of Walt Whitman texts.

 

"Opera in Concert began its 35th season with an exciting production of Donizetti’s 1837 Roberto Devereux. The impressive music director/pianist was American Alison d’Amato who absolutely understands bel canto tempi and the nuances between the slow cavatina and fast cabaletta.”
- Classical 96.3, 10/2008; Opera in Concert performance of Donizetti’s opera Roberto Devereux.

 

"Music director and pianist Alison d’Amato found nuance in Rossini and not just crescendo.”
- Classical 96.3, 10/2009; Opera in Concert performance of Rossini’s opera La Donna del Lago.