Critical Acclaim

As Mescalina in Ligeti’s Le Grand Macabre

The New York Philharmonic

The charismatic bass Wilbur Pauley, as the henpecked court astrologer Astradamors, and the lush-voiced mezzo-soprano Melissa Parks, as his brutishly domineering wife, Mescalina, were wonderful.

The New York Times, Anthony Tommasini

As Mescalina, Melissa Parks, combined a firm mezzo-soprano with the high-camp mugging one would expect in the role of a sex-starved dominatrix.

New York Post, James Jorden

…it was mezzo-soprano, Melissa Parks as his wife Mescalina who dominated this pair both vocally and dramatically. She threw herself wholeheartedly into the slapstick aspect of the role with determined physicality.

Classical source.com, Elizabeth Barnette

Melissa Parks as a dominatrix whose range and variety stunned…magnificent mezzo…Parks ranged over octaves as she sang Mescalina…a huge success.

Berkshire Fine Arts, Susan Hall

As Dame Quickly in Falstaff

Cleveland Opera

Melissa Parks was a real find as Mistress Quickly. Whether in low range or high, her mezzo-soprano voice was always filled with character.

Opera News Online, Alan Montgomery

As Mistress Quickly, Melissa Parks is a robust force of nature, abounding in mischievous and sonorous appeal.

Cleveland.com, Donald Rosensberg

Utah Opera

Melissa Parks’s imposing Dame Quickly…her capacious mezzo at times approaching intimidation. Her physical presence and spot-on comedic timing gave this role more profile than usual.

Opera News, Robert Coleman

Melissa Parks as Dame Quickly nearly stole the show from the merry wives. An exceptional actress and singer who has a rich and warm voice brought depth and dimension to her character.

Riechel Recommends, Edward Riechel, Arts Reviews & Recommendations, Salt Lake City, UT

As Azucena in Il Trovatore

Michigan Opera Theatre

…a fine singing actress, whose every syllable throbbed with emotion.

Opera News

…made an extremely strong impression as Azucena. She projected her firm rich voice with secure strength from top to bottom and, unlike the rest of the principals, her physical acting matched the dramatic impulses in her voice.

John Guinn Reviewer

As The Forester’s Wife/Owl in The Cunning Little Vixen

The New York Philharmonic

When Opie and Melissa Parks, whose lush mezzo voice suited the role of both the forester’s wife and an owl, take over we are completely rapt.

Berkshire Fine Arts, Susan Hall

As Katisha in The Mikado

Pittsburgh Public Theatre

…an ersatz Oriental Valkyrie with a voice to match…shows how to play the part totally right.

Pittsburgh Pulp

…commanding in presence and in voice.

Talkin’ Broadway, regional reviews

 New York Gilbert and Sullivan Players

Melissa Parks has so ravishing a vocal presence that this critic wanted to leap down from the grand tier and beg to whisk her away.

Benjamin Letzler, Columbia Daily Spectator

Michigan Opera Theatre

Katisha, Melissa Parks, a powerful presence and voice.

Dearborn Times-Herald

Melissa Parks’ smoky and textured mezzo-soprano elevated Katisha into a figure of real humanity.

Freep.com, Mark Stryker

Parks was a comedic gale force with an equally powerful voice, demanding laughs from the audience…and demanding tears in her aria.

Thedetroiter.com, Nicole Ruersburg

As Mrs. Peachum in The Beggar’s Opera

Castleton Festival, Lorin Maazel conducting

The dynamic mezzo Melissa Parks astounded with the bitterly expressive range of her voice, which might one day be appropriate to the role of Herodias in Salome.

IONARTS, Michael Lodico

Melissa Parks as a magisterially booming Mrs. Peachum.

The New York Times, Steve Smith

The Mrs. Peachum of mezzo-soprano, Melissa Parks, was a full-bodied presence vocally and physically.

IONARTS, Charles T. Downey

As The Marquise of Birkenfeld in La fille du régiment

New York City Opera

Parks, a first-class mezzo-soprano, was perfectly cast as the secret-holding, egotistical Marquise.

Lawrence Journal-World

…a gifted comic actress.

Savannah Morning News

As Madame Flora in The Medium

Michigan Opera Theatre

Mezzo-soprano Melissa Parks brought a house-filling voice and dramatic instincts to the liquor fueled Madame Flora.

Freep.com, Detroit, MI

Buffalo Artpark Festival

…a very big voice, well controlled, and when she let it out the theater shook.

Buffalo News

Mezzo Soprano soloist in Verdi’s Requiem

Utah Symphony

…a compelling performance.

Boston Herald

Mezzo Melissa Parks demonstrated impressive power and range color.

The Salt Lake City Tribune

As Third Maid in Elektra

Seattle Opera

Mezzo Melissa Parks as the Third Servant was a standout, with a powerful, voluptuous tone.

The Last Debate, Opera Review

As Cecilia March in Little Women

Dayton Opera

…the hidden gem of the performance…gave character so much life and flair along with one of the best voices of the cast.

Dayton City Paper

As Gertrude in Romeo and Juliet

Utah Opera

Melissa Parks plays Juliet’s Nurse, Gertrude, with charm and humanity.

Salt Lake Tribune

As Queen of the Fairies in Iolanthe

Nashville Opera

As the Queen of the Fairies, Melissa Parks was not only vocally adept but displayed comic timing worth of a professional comedienne.

Musicomh.com, Zan Buckner

As Old Lady in Candide

Light Opera Oklahoma

Parks’s relish of her comedic role is a hoot.

Urban Tulsa Weekly, Paul Sheckarski

Melissa Parks embodies the Old Lady with great gusto.

Tulsa World, James D. Watts Jr.

As Marcelina in Le Nozze di Figaro

Michigan Opera Theatre

Melissa Parks, was a riveting Marcelina, mugging discretely and singly superbly.

Encore Theatre, Michael H. Margolis