Hansel and Gretel by Engelbert Humperdinck, Piedmont Opera, 2009
Winston Salem Journal, October 4, 2009, Ken Keuffel
“Barbara DeMaio Caprilli nearly steals the second act with her shenanigans-filled portrayal of the Gingerbread Witch. Her costume makes the phrase “over the top” seem like an understatement.”
Classical Voice of North Carolina, October 2, 2009, Peter Perret
“Barbara DeMaio Caprilli, as the Gingerbread Witch, was a delight whenever she was on stage; she was malicious, witty and downright droll at times. Director Steven LaCosse coached her well and even allowed her to fly around the stage a bit on her broomstick.”
Bon Appetit! by Lee Hoiby, Long Leaf Opera, 2009
Classical Voice of North Carolina, June 19, 2009, Ken Hoover
“The final opera of the evening was a bon-bon of delight with music by one of America’s most respected composers, Lee Hoiby, and librettist Mark Shulgasser. Bon Appétit is a comic reworking of one of the inimitable Julia Child’s early black and white television cooking shows. The French Chef shows us how to put together a classic French chocolate cake. In this performance, Barbara DeMaio Caprilli sang as Julia Child, her gestures quite convincing and her voice wry and witty as the original. The score was played by Carmine Mann, and Benjamin Keaton was the music director. Randolph Umberger was the stage director and set designer.
The piece begins with a repeated major scale that put me in mind of Saint-Saens’ Carnival of the Animals, and shortly into the work there was reference to “La Marseillaise.” The music moved the production along with wit and whimsy, the singing was charming, and the timing was just right. So many of the clichés were there, like tapping the excess flour from the cake pans on the floor, picking up the hot pan, forgetting the hot pad, and much more. It was a charming piece of nostalgia and a delightful ending for a very enjoyable evening.”
Chapel Hill News and Observer, June 20, 2009, Roy C. Dicks
“The established piece comes from esteemed composer Lee Hoiby, whose works have featured prominently in previous LLO seasons. His 1986 “Bon Appétit” is a cleverly conceived 20-minute entertainment, taken from a Julia Child cooking show episode in which she makes a chocolate cake. Hoiby’s music perfectly reflects each instruction, ingredient and comment, bubbling along agreeably in the capable hands of pianist Carmine Mann.
Barbara DeMaio Caprilli brings a sassy character and a vibrant voice to her portrayal of the famous TV cook, gamely tossing off references to egg whites and melted butter while dealing with numerous pans, bowls and dishes. Although slight, the piece brings a smile and ends the program on an upbeat note.”
Medusa by William Bolcom, Long Leaf Opera, 2008
Classical Voice of North Carolina, June 20, 2008, Jeffrey Rossman
“This is a virtuoso outing for the sole vocal performer, soprano Barbara Caprilli, in her Long Leaf debut, as well as the strings of the Carolina Chamber Symphony, brilliantly prepared and conducted by Al Sturgis. The text is twelve beautifully-conceived poems that can ably stand alone. Caprilli was brilliant as she constantly changed vocal techniques from talking to Grand Opera-ish, to a simpler style followed by Sprechstimme, and then back again…In short, this was an artistic triumph in every respect.”
Chapel Hill News and Observer, June 21, 2008, Roy C. Dicks
“Barbara DeMaio Caprilli has a large stage presence, her voice dominating the orchestra with impressive power, especially in the lower register. She confidently manages the quick rhythmic changes and knows how to punch up the humor.”
Starry Night, Gala Concert honoring Florence Birdwell, with Kristin Chenoweth, Kelli O’Hara, Lara Teeter and Barbara DeMaio Caprilli, Oklahoma City, OK, 2007
Brodway World.com, March 31, 2007
“…he was followed by Barbara DeMaio Caprilli, whose career has been in opera but who might have had major success in theater: after singing two of Samuel Barber’s Hermit Songs and Eboli’s aria “O don fatale” from Verdi’s DON CARLO, Caprilli revealed in the chance to belt with a really exciting “Some People” from GYPSY — based on that performance, I’d have no hesitation in paying to see her Mama Rose.”
Payne County Line, April 7, 2007, Rick Rogers
“Soprano Barbara DeMaio Caprilli explored a different path to success by establishing an impressive operatic career in Europe. Evidence of that was demonstrated in two of Barber’s “Hermit Songs,” which she followed with an aria from Verdi’s “Don Carlo.”
The audience roared with approval after she tossed off this rangy aria with ease. She then belted out “Some People,” Mama Rose’s take-charge anthem from “Gypsy.” Lyric Theatre need look no further than Caprilli the next time it plans to mount this classic musical.”
Hansel and Gretel by Engelbert Humperdinck, Greensboro Opera, 2007
Greensboro News and Records, February 25, 2007, Tim Lindeman
“In the role of the witch was Barbara DeMaio Caprilli, whose singing and shenanigans brought the house down. She was more campy than treacherous, more spoof than scare. It was a perfect match for a show that was designed for children of all ages. Her voice is a mature one, and she negotiated the changes from crackling to chest, from high screeches to low guffaws. It is obvious that this woman is a true veteran of the stage.”
Aida, Rome, Italy, June, 1999
L’opera, Luglio-Agosto 1999
“For the evening this critique refers to, in the part of the beautiful Ethiopian slave Aida was the American Barbara DeMaio, gifted with a beautiful voice, beautiful pronunciation, and certainly mistress of the role since she was able to efficiently insert herself into the production at the last minute.”
Norma, Ascoli Piceno, Italy, March, 1999
Amici della Musica, Aprile 1999
“In the cast…two names shown most brightly, the American soprano Barbara DeMaio in the part of Norma and the Milanese Alessandra Palomba in the part of Adalgisa. The first, at her best with a very difficult role, created an inspired interpretation; her Casta Diva will remain forever in the hearts of those who heard it.
Nabucco, Brussels, November, 1996
La libre Belique, November 24, 1996
“The American soprano Barbara DeMaio was a luscious Abigaille, putting together the ideal of eloquence and sensibility, with a notable grace and a very beautiful sound.”
Derniere Heure, November 23, 1996
“The impressive technique of Barbara DeMaio who, it is true, is a Verdi specialist, offered moments of sumptuous musicality.”
Turandot, Palma de Mallorca, Spain, June, 1995
Diariade Mallorca, June 1, 1995
“On this occasion the theatre was fortunate to have, as the Princess, the able American soprano; a voice with power and a perfect, refined top register, who with her fiery expression and personality was the vocal star of the evening.
Norma, Genova, Italy, April 1994

La Repubblica, April 24, 1994
“Ms. DeMaio has also, inevitably, studied the lessons of the great Callas, using better methods [than the opening night cast] and, thanks to a more complete technique, was able to use the vocal effects of the Greek-American soprano in the middle and low registers: ‘voci di guerra’ ‘pili romani’ and ‘qual’consunta morra’ for example, already in the recitative that proceeds the cavatina of the first act, and also ‘d’esser lor madre’ and ‘troppo orrendo e un tal dubbio.’
In the andante ‘Casta Diva’…the B flat has a beautiful expansion and the coloratura passages are correct and fluid…as an interpreter Ms.DeMaio doesn’t lack the tragic stature required by the piece and is also effective in the sections requiring pathos.”