Kimberly McCord
soprano
Madame Pompadour with Chicago Folks Operetta
“McCord isn’t the entire show but she just about walks away with it. Vocally and dramatically, the role of Pompadour suits her to perfection. Her singing is clear, rich and beautiful, yet wonderfully strong and steady when required to nail high notes. Clever, poised and alluring, her heroine is supremely confident in the power she wields over men yet captivating enough to put us on her side from the get-go.”
—John von Rhein, Chicago Tribune
“Kimberly McCord, in particular, shines and shines as the title character, playing with ease all facets of this complex, seductive character.”
—Jack Helbig, Chicago Reader
L'incoronazione di Poppea with Haymarket Opera Company
As Ottavia, Nerone’s put-aside queen, Kimberly McCord was an aptly regal and imperious presence. The soprano sang with daunting power yet brought affecting emotion to Ottavia’s final aria lamenting her banishment from Rome.
—Lawrence A Johnson, Chicago Classical Review
Rodelinda with Handel Week Festival
“With her luscious, billowing voice, superb technique and fine expressive command, she made a meal of arias that run the gamut from pathos, defiance and yearning to radiant joy.”
—John von Rhein, Chicago Tribune
Dido and Aeneas with Haymarket Opera
“In the opera proper, Kimberly McCord, making her company debut, proved a superb Dido. Tall and aptly regal, McCord found a convincing middle ground between the stylized movements and emotional intensity, delivering a lovely Ah, Belinda and expressive and affecting Lament.”
—Lawrence A. Johnson, Chicago Classical Review
Thesée with Ambronay Festival, France
“In some instances—such as that of Medée, sung with the ideal mix of
drama, power, and sensitivity by Kimberly McCord—the promise shown
was considerable.
—Opera (UK)
Soloist with Gabrieli Consort, London
“Kimberly McCord’s rich soprano shimmered and soared
through the elder Mary’s mystic colloquy with her own soul.”
—Tim Ashley, The Guardian, London