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“Lisa Delan was the fine soloist in an arioso with a wavering orchestral accompaniment that sounded simultaneously gentle and jagged.”

Jeff Dunn, San Francisco Classical Voice (February 2016)

“Delan's delivery reflected Getty's talent for expressing prose… the dramatic impact made for a fascinating reflection on the traditional Faust legend.”

San Francisco Examiner (February 2016)

“Soprano Lisa Delan infused the solo part with the requisite tenderness.”

Joshua Kosman, SF Gate (February 2016)

“The vengeful and strong voice of the accuser, played by baritone Lester Lynch, opposes the innocence of Joan, perfectly interpreted by the clear voice of Lisa Delan.”

Sarah Beaumont, Bachtrack.com (April 2015)

“Delan drew fans close to her warm, heart-friendly tone and her compelling conveyance of lyrics...”

Jeff Kaliss, San Francisco Classical Voice (February 2014)

“...soprano Lisa Delan effectively showcased [Getty's] Four Dickinson Songs, with light and lively intonation and an ingenuous theatricality conveying both the era and the affect of the 19th-century New England poet.”

Jeff Kaliss, San Francisco Classical Voice (January 2014)

“[Getty's] aphoristic approach gave space for soprano Lisa Delan’s delicate, at times fragile, expressiveness.”

Paul Hertelendy, artssf (January 2014)

“Monday's event included the slender charms of four Emily Dickinson settings delivered by soprano Lisa Delan and pianist Robin Sutherland...”

Joshua Kosmin, San Francisco Chronicle (January 2014)

Vilna Poems / Akoka: The End of Time / In Commemoration of the 70th Anniversary of the Warsaw Ghetto Uprising read the title sheet of the Jewish Music Festival’s concert at Berkeley Repertory Theatre on Saturday... a group of outstanding musicians shortly put it all together for me that night. My mind got some exercise — and my soul got moved... Garner’s musical language is simple yet subtle, tonal, and beautiful. The subjects of the poetry moved from love, to imprisonment, to digging pits for executions, to PTSD... and ended with rejuvenation. Soprano Lisa Delan’s lovely voice added its grace to the accompaniment of David Krakauer’s clarinet, Matt Haimovitz’s cello, and Kristin Pankonin’s piano... the 23-minute work proved to be a wonderful addition to the repertoire, and I hope it receives a wide currency.”

— Jeff Dunn, San Francisco Classical Voice (March 2013)

“Soprano Lisa Delan gave a moving performance. It is obvious that she loves these songs and sings them with the conviction of a true believer... Her diction is superb... and her voice captured the essence of these songs. She was a joy to hear and watch.”

— Jeffrey Williams, New York Concert Review (April 2012)

“Lisa Delan has made these songs entirely her own, textually and musically. Her voice encompasses a wide range and she can color and inflect it for mood and expression. Her excellent diction was especially important in the humorous songs...The audience's warm response proved that all the songs were worth a smile, so Mr. Haimovitz returned for an encore: Ms. Woolf's trio arrangement of Getty's The Going from a World We Know.

— Edith Eisler, New York Concert Review (May 2010)

“The radiant soprano was Lisa Delan, singing with clear diction and chaste phrasing. All four songs had bantamweight endings, with “There’s a Certain Slant of Light” and the famous “Because I Could Not Stop for Death” especially telling. Most of these works lie comfortably in the middle range, and Delan’s narrow vibrato and palpable emotion seemed just right for each. Pianist Kristin Pankonin was an attentive and often forceful accompanist. The composer, seated in the first row, led the applause and accepted many congratulations during the evening.”

— Terry McNeil, San Francisco Classical Voice (July 2008)

“Lisa Delan, visibly embodying her role, was a very moving Joan in the second part when she begs forgiveness from Saints Margaret, Catherine and Michael, whose voices she heard before denying them only to affirm their message more positively later on. The audience rewarded the soloist with generous applause.”

— Nicole Jaeg, L'Alsace (July 2003)

“Soprano Lisa Delan showed the sensitivity and vocal means which the piece required, and baritone Vladimir Chernov sang Bishop Cauchon's part with sympathetic firmness. For the Moscow Academy of Choral Art, perfectly prepared by their director Victor Popov, the performance of this engaging piece, which was very warmly received by the audience, was the ultimate accomplishment.”

Dernieres Nouvelles D'Alsace (July 2003)

“A surprise of the program was the dramatically effective and intensive performance of Gordon Getty's Joan and the Bells. This melodious work proves that contemporary music need not be only mechanically constructed... Lisa Delan and Vladimir Chernov sang with powerful yet tender voices, and the Eric Ericson Choir's singing was precise in articulation and sensitively controlled.”

— Klaus Linsenmeyer, Rain-Post (July 2003)

“Soprano Lisa Delan sings Joan, a role she has made her own, and she sings with the kind of pure tone one expects of a saint-to-be and the passion one expects from a 19-year-old girl going to her death. Miss Delan is exceptional... The results are a performance that is nearly as exceptional as Getty's music is sublime.”

Nevada Events (November 2001)

“The world premiere of the cantata Joan and the Bells by American composer Gordon Getty was performed in the Big Concert Hall tonight. Joan and the Bells is based on a historic episode from the Hundred Years War. It features the story of the life and death of Jeanne d’Arc. The audience was constantly asking for encores. Lisa Delan, who has a beautiful warm soprano, sang her part wonderfully.”

Kazanskoye Vremia (September 1998)