"Brittingham’s best singing came during the two love duets as she combined a sense of tenderness with firmness. Eileen might be more of a damsel-in-distress at times, but Brittingham was adamant in imbuing her with a strength and resistance."
-David Salazar, Opera Wire, 2017
"All the rapturous Eileen/Barry O’Day numbers were satisfyingly done by Brittingham and Carle, culminating in the meltingly beautiful 'Thine Alone.'"
-Harry Forbes,Forbes on Film & Footlights, 2017
"The bird-like singing of soprano Joanie Brittingham in Did I hear a bird? was delightful – the highlight of her outstanding solo work."
-Jeffery Williams, New York Concert Review, 2017
"Standouts included...Joanie Brittingham as a bright-voiced, unaffected Suor Genovieffa."
-Eli Jacobson,Gay City News, 2016
"Soprano Joanie Brittingham was lovely as the young Suor Genovieffa."
-Meche Kroop, Voce di Meche, 2016
"“One must give kudos to the featured vocal soloists, Joanie Brittingham and Katherine Pracht, who were excellent”
-Jeffery Williams, New York Concert Review, 2016
“As Laurie Moss, a young woman on the eve of high school graduation, Joanie Brittingham fully captured the youthful freshness and naivete of her character, yet also showed the dramatic versatility in her depiction of Laurie falling in love with Martin and in her angry confrontation with grandpa Moss.”
-Arlo McKinnen, Opera News, 2014
“Highlights among the cast were the soprano Joanie Brittingham, who sang Laurie with lucid diction…”
-Zachary Woolfe, New York Times, 2014
“In Joanie Brittingham, the company had a Laurie ideal in looks, manner, and sound for this classic lyric soprano role…Brittingham wisely made it clear that for Laurie it’s leaving that is most important—not her relationship with the intinerant Martin.”
-David Shengold, Opera, 2014
“As Laurie, soprano Joanie Brittingham was the standout in a generally solid cast. She has an effortlessly sweet warble, with a free, easy tone…Her acting was what really set her apart: She fully embodied her character, making the most out of what is a fairly contained emotional arc, and even showing a glimpse of maturation at the end. She has a captivating stage presence, possessed of the sort of innocent kindness that makes her instantly sympathetic and familiar, so that the audience feels completely comfortable with her from the moment she walks on.”
- Eric C. Simpson, New York Classical Review, 2014
“Soprano Joanie Brittingham brought an ideal combination of crystalline tone and focused personality to the role of elder daughter Laurie.”
-Jon Sobel, Blogcritics.com, 2014
“Soprano Joanie Brittingham winningly brought her colorful singing to the perky Betty.”
-Classical Music Rocks, 2014
“Joanie Brittingham shone in the soubrette part…”
-Paul J. Pelkonen, Superconductor, 2014
“Brittingham was equally impressive, conveying the terror of a young lost girl with nowhere to turn but her brother.”
- Molly Carl, The Snapper, Lancaster PA, 2014
"Brittingham is a petite ingénue with a big, lustrous voice and vivacious stage presence. She’s fully equal to the bravura demands of the role as well…a particular treat.”
-Greenville News, Greenville SC 2012
-Herald Standard, Uniontown, PA 2012
-Tulsa World, Tulsa, OK 2011
"Equally good is Brittingham as Clara, who balances the character's childlike innocence and directness with a full-bodied voice in songs that allow the character to express what is going on in a mind and heart even her mother can't fully fathom.
The rapturous way she sang the show's title song is beautiful and heartbreaking, and the righteous fury she shows in the "Clara's Tirade" is perfectly calibrated."
-Tulsa World, Tulsa, OK 2011
-Tulsa World, Tulsa, OK 2010
Joanie Brittingham, soprano, has been noted for her “full-bodied voice” (Tulsa World) and “vivacious stage presence” (Greenville News), “dramatic versatility” (Opera News) and “lucid diction” (New York Times), and praised for demonstrating “strength and resistance” (Opera Wire) when portraying ingenue roles. Brittingham made her Carnegie Hall debut in 2016 with Distinguished Concert Artists International (DCINY), as the soprano soloist for Karl Jenkins’s The Armed Man. DCINY invited her to return to Carnegie Hall on January 15, 2017, as the soprano soloist for the US Premiere of Karl Jenkins' of Cantata Memoria for the Children of Aberfan. Recent performances include the title role in Eileen and Marie in The Princess Patwith Victor Herbert Renaissance Project Live!, with whom she also appeared as a featured soloist in the Son of Dublin concert. She also sang the role of Stella in The Stranger the Better, part of Hartford Opera Theater’s New in November.
She has performed with Riverside Theatre, IconoClassic Opera, and Chelsea Opera, and has performed with the New Works Festival with OPERA America, American Lyric Theatre, Opera Lancaster, GLOW Lyric Theatre, New York Lyric Opera, Light Opera Oklahoma, Peach State Opera, and Wichita Grand Opera, among others. Ms. Brittingham’s performances include recitals with the Market Street Arts Festival, New York Opera on Tap, and the Creagan Arts Series. She was a finalist in the Fritz and Lavinia Jensen Competition in 2014, and a semifinalist in the International Concours de Chant de Clermont Ferrand in 2015. Ms. Brittingham has two Masters degrees from Baylor University, in voice performance and music history and literature, and obtained her undergraduate degree from West Virginia University in voice performance and theatre. She is featured on the album Songs of Robert Burns, available on Itunes. Additional information can be found at www.joaniebrittingham.com