Norma, Opera Ireland, Dublin | Martin Adams, The Irish Times
Regina Nathan’s reading of the title role was packed with insight–the extraordinarily taxing coloratura writing. She understood that this complexity is not merely for display, so her definition of gesture was unfailing … Her voice could “weave a spell of magic about the plainest word in the plainest recitative".
Madama Butterfly, Opera Ireland, Dublin | Robert Thicknesse, The London Times
Another great performance came from Regina Nathan in Madama Butterfly that had the audience on its feet. Nathan produced a last act of such rapt despair that nothing else much mattered, singing with amazing control over the widest dynamic range.
Madama Butterfly, Opera Ireland, Dublin | Hugh Canning, The Sunday Times
Regina Nathan’s heart rending and gloriously sung heroine…
Madama Butterfly, Opera Ireland, Dublin | Martin Adams, The Irish Times
Rising above them all, as the title role should, was Regina Nathan. Her mix of delicacy and power, secure intonation, unfailing good tone and strong acting produced a performance to remember.
Madama Butterfly, Opera Ireland, Dublin | Pat O’ Kelly, The Irish Independent
Musically this Butterfly moves beyond the ordinary through Regina Nathan’s deeply satisfying Cio Cio San. Her initial artless adolescent ripens to a determined mature woman. Vocally vibrant, Ms Nathan deserves the audience’s standing ovation.
Madama Butterfly, Opera Ireland, Dublin | Ian Fox, The Sunday Tribune
The company had another major triumph with this imaginative production with a well deserved standing ovation for its heroine, Regina Nathan, who gave a ravishing performance of the unfortunate heroine.
Opera Gala Concert, Dublin | Declan Hassett, The Examiner.
Regina Nathan was in spectacular form, demonstrating her faultless technique and quality of voice in such gems as ‘Un bel di’ from Madama Butterfly, a perfectly phrased ‘Ebben n’andro lontano’ from La Wally, ‘Arrigio! Ah parli a un core’ with its tortuous descending and immediately ascending scales from I Vespri Siciliani and then the show stopper of the concert, ‘E strano..sempre libera’ from La Traviata.
La Traviata, Opera Ireland | Michael Dervan, The Irish Times.
Regina Nathan is a strongly characterised Violetta, both radiant and intimate, revealing with skill her internal conflicts of will and compassion. Audiences at The Gaiety are not accustomed to singing with the detailed emotionalism and finely-gauged vocal responses she offered, and the unequivocal nature of their enthusiastic response on the opening night ranks as a clear personal triumph.
La Traviata, Opera Ireland | Gus Smith, The Sunday Independent.
Opera Ireland opened its new production of La Traviata with Regina Nathan making her Irish debut in the role of Violetta Valéry. As the extrovert courtesan in Act 1 she managed the coloratura passages with conviction, and later as a refined introspective Violetta facing emotional challenges and finally death, she wasn’t found wanting. Her death scene was in fact very touching. Gus Smith, The Sunday Independent.
Hansel and Gretel, Scottish Opera | Rodney Milnes, The Times.
But there is no escaping of an excellent cast….Regina Nathan was superb as Gretel in Scottish Opera’s production of Hansel and Gretel.
Opera Gala, Cork City Hall, October 1998 | Declan Hassett, The Examiner
Regina Nathan has all the star qualities. A deceptively powerful voice, always under control and a stillness of delivery which stamps class on her entire performance….this was her finest hour in this acoustically balanced auditorium.
The Tales of Hoffmann (Antonia), Opera Ireland | Patrick Brennan, The Examiner
Regina Nathan sang with a Maria Callas-like plaintive quality in her soaring and soulful vocals. She was able to capture the high-minded aesthetic yearning of Antonia yet hint at her humanity and frailty.
The Tales of Hoffmann (Antonia), Opera Ireland | Hilary Finch, The Times.
The musical magic is focused in the female voices of the cast….the most radiant of all being Regina Nathan’s Antonia.