Adanya Dunn as Musetta, tears a broad swath through AtG’s La Bohème, strutting and vamping with reckless abandon, her sultry soprano red hot and alluring, a dangerous woman, wilful and self-centred. And an absolute delight. Dunn clearly loves this character as much as the audience. Her all-conquering stage turn in Ivany’s tumultuous Act II bar scene is nothing short of a master class in histrionics. It is her genuinely heartfelt prayer for Mimi in Act IV, however, that reveals the true depth of Dunn’s dramatic presence. “Oh, God! How’s this happening?”, she gasps. “She still had so much to give!” An exquisite moment of high drama delivered with potent, focused parlando.
– Ian Ritchie, OPERA GOING TORONTO, May 2017
Musetta in La bohème with Against the Grain Theatre, The Tranzac Club


“Speaking of playing against type, Adanya Dunn the Sexed-Up Version (Musetta) was the second revelation of the evening. There was some pretty serious action on the bar counter after the “Quando m’en vo” and that’s after she’s made her seduction tour of the chosen people in the audience and the extras (including kissing one woman, and rubbing against the back of the music director Topher Mokrzewski at the piano).”
– Lydia Perovic, DEFINITELY THE OPERA, June 2017
Musetta in La bohème with Against the Grain Theatre, The Tranzac Club


“Adanya Dunn is charismatic as the flirtatious Musetta”
– Glenn Sumi, NOW MAGAZINE TORONTO, May 2017 [4/4 stars!]
Musetta in La bohème with Against the Grain Theatre, The Tranzac Club


“Adanya Dunn sang Musetta.  Now I’ve seen quite a lot of Adanya (though not quite as much as I saw last night) but it’s always been in highly technical, mostly modern, concert rep or in new opera.  So it was quite a revelation to see her singing much more “accessible” music and playing a very exuberant, sexy and, at times downright catty Musetta.  She was very good and very “physical”.  (I wish I could say that the back bar in the Tranzac has never seen anything quite like Adanya and Andrew’s antics last night but that wouldn’t be true). ”
– John Gilks, OPERA RAMBLINGS BLOG, May 2017
Musetta in La bohème with Against the Grain Theatre, The Tranzac Club 


“Adanya Dunn was a properly flirty Musetta, looking fabulous and acting up a storm, with just the ideal bright tone for the role.  Act Two belongs to Musetta, and Dunn took full advantage, singing a seductive Waltz and serving up some outrageous “footwork” to her Alcindoro […].”
– Joseph So, MUSICAL TORONTO, May 2017
Musetta in La bohème with Against the Grain Theatre, The Tranzac Club


“Adanya Dunn was a total riot as Musetta.”
– Jenna Douglas, SCHMOPERA, May 2017
Musetta in La bohème with Against the Grain Theatre, The Tranzac Club


“There was a sort of mini Schoenberg Fest at the TIFF Lightbox yesterday.  First up we got Topher Mokrzewski and Adanya Dunn with Claude Vivier’s Hymnen an die Nacht and five pieces from Schoenberg’s Pierrot Lunaire.  The Vivier was a very apt choice; a piece of CanCon in the spirit of the Schoenberg. […] and Adanya, in my opinion, is at her considerable best in music of this type.”
– John Gilks, OPERA RAMBLINGS BLOG, March 2017
Toronto International Film Festival, Live Performance to Moses und Aaron (Schoenberg) Film Screening


“And what of TIFF’s experiment, combining live singers with film? I’d say it’s a qualified success.  I suspect the thought was to give us an entry into the austere style of the composer.  The irony is that what Dunn & Mokrzewski did was a great deal more authentic and true to the style than what we heard in the film […] Dunn and Mokrzewski were wonderful together [… and …] what [they] accomplished was remarkable.”
– Leslie Barcza, BARCZA BLOG, March 2017
Toronto International Film Festival, Live Performance to Moses und Aaron (Schoenberg) Film Screening


“Three of the Royal Conservatory’s Rebanks Fellows were singing with Helen Becqué at the piano […]. It kicked off with sopranos Ellen McAteer and Adanya Dunn singing three of the Mendelssohn duets Op. 63.  This is light lieder territory but it was interesting and fun to hear two rather different lyric sopranos blending rather nicely. Adanya then performed three Liszt songs to texts by Heine; Ihr Glocken von Marling, Im Rhein, in schonen Strome and Die Loreley.  This was High Romanticism indeed.  The first and second numbers have a kind of limpid beauty that Adanya made the most of.  The third is much more dramatic, especially, in the piano part but also has some reflective passages.  It’s very much story telling and, again, it was nicely done.”
– John Gilks, OPERA RAMBLINGS BLOG, January 2017
ACROSS THE CHANNEL, Canadian Opera Company’s Richard Bradshaw Amphitheatre Concert Series, Four Seasons Centre for the Performing Arts


It rarely happens that a recital series strikes excellence in programming from the word go, but the group of musicians that include soprano Adanya Dunn, clarinetist Brad Cherwin, Alice Hwang at the piano and visiting musicians […]. Dunn sang expressively […] A brief “Gebet an Pierrot” (1912) from Schoenberg’s much heftier Pierrot Lunaire cycle followed, in the piano-soprano version. Dunn was immediately dramatic and gave a good idea of the mood of the entire piece. It was again a brief sample that left me wanting to hear more from where that came fromSo: a superbly planned recital, with a rich banquet of textures and colours, most of which we rarely get to sample here in Toronto. I’ve been re-listening to the entire program on the Naxos Online Library, piece by piece, all morning. Next time these people throw a recital, run don’t walk.”
– Lydia Perovic, DEFINITELY THE OPERA, December 2016
LINEAGE, Concert 2 in Self-Produced Concert Series at Toronto’s Heliconian Hall [Dunn/Cherwin/Hwang] 


“The members of the Glenn Gould Ensemble played all three with verve, passion and commitment. Sopranos Adanya Dunn and Ellen McAteer both inhabited the sweet, passionate world of Golijov’s writing for voice with real conviction.”
– Robert Harris, THE GLOBE & MAIL, November 2016
AYRE, Against the Grian Theatre, Aga Khan Museum at the Ismaili Centre, Toronto


“The second piece, titled Lúa Descolorida featured the quartet and Adanya Dunn. Ms. Dunn first caught our attention in the University of Toronto Opera School production of Britten’s Albert Herring and hasn’t stopped since. […] While the interplay between vocals and strings was fantastic, it was still very much a vocal piece with string quartet. Dunn’s voice handled the extreme range and colours covered in the piece beautifully. […] you were so transfixed by the intimacy of the whole affair […].”
– Gregory Finney, SCHMOPERA.COM, November 2016
AYRE, Against the Grian Theatre, Aga Khan Museum at the Ismaili Centre, Toronto


“Adanya Dunn’s vibrant soprano voice joined the quartet for the dolorous Lúa Descolorida, reminiscent of Cantaloube’s Songs of the Auvergne, but with a Galician edge.”
– Paul Ennis, THE WHOLENOTE, November 2016
AYRE, Against the Grian Theatre, Aga Khan Museum at the Ismaili Centre, Toronto


Lúa Descolorida (“Moon, colorless”), a sad, wistful 19th century love poem written in archaic Galician dialect brightly sung by soloist Adanya Dunn with simple, shining grace, provides much-needed catharsis.”
– Ian Ritchie, OPERA GOING TORONTO, November 2016
AYRE, Against the Grian Theatre, Aga Khan Museum at the Ismaili Centre, Toronto 


“First up was soprano Adanya Dunn with Helen Becqué at the piano, in five short Poulenc songs. These are essentially miniatures and recognisably Poulenc. Dunn has a first rate, lovely lyric soprano, with gleaming tone and hall-filling volume. These pieces are often taken by singers with smaller, lighter instrument, so it’s a refreshing change. She delivered these songs beautifully, with sensitivity and textual nuance. Later in the afternoon, she offered “Chevaux des bois” from Ariettes oubliées by Debussy, sung with a lovely sheen. She also gave us from Hugo Wolf’s Spanisches Liederbuch “In dem Schatten meiner Locken,” a rather coy, even sexy song – within the 19th-century context, that is!  Dunn delivered it with the feminine playfulness and whimsy.”
– Jospeh So, MUSICAL TORONTO, July 2016
Artsong reGENERATION Concerts 1 & 2, Toronto Summer Music Festival 


“Soprano Adanya Dunn opened with a stylish and witty account of five Poulenc songs of highly contrasted moods.  She showed excellent diction and sense of style and the musicianship that has marked her out in the contemporary repertoire.”
– John Gilks, OPERA RAMBLINGS BLOG, July 2016
Artsong reGENERATION Concert, Toronto Summer Music Festival


“First up was soprano Adanya Dunn and pianist Helen Becqué with three short Poulenc songs. She has a naturally produced instrument with a very beautiful timbre, perhaps a bit darker and more substantial than most in these delicate Poulenc songs. Poulenc has a very distinctive melodic signature — I keep hearing Soeur Constance (usually sung by a light soprano) from Les dialogues des Carmélites in these songs!”
– Joseph So, MUSICAL TORONTO, July 2016
Masterclass with Craig Rutenberg, Toronto Summer Music Festival


“They sing from twenty feet and from three inches—distances that shame dramatic weaknesses and relax young voices. Standouts in the cast—the strongest Ivany has put together—were baritone Peter Rolfe Dauz as a jumpy embezzler and soprano Adanya Dunn in one of the few tragic parts, as a tormented and vengeful daughter. [Dunn’s voice with] bassoon improvisation that turned out to be based on “Non so più.” No One’s Safe was more of a dramatic experiment than a musical one, and it sparkled.
– Lev Bratishenko, OPERA NEWS, July 2016
NO ONE’S SAFE, The Banff Centre for Arts and Creativity, Opera in the 21st Century, Alberta,_Rape_of_Lucretia.html 


Zoe and Adanya

“Among the numerous wonderful performances of the students, standouts included: […] sopranos Adanya Dunn and Zoe Johnson lyrically performing the “Flower Duet” from Léo Delibes’ opera Lakmé.”

– Kevin T. McEneaney, THE MILLBROOK INDEPENDENT, December 2015
A Winter Songfest, Sosnoff Theater, The Fisher Center for the Performing Arts, Annandale-on-Hudson




“Rounding the cast out was Adanya Dunn as The Messenger.  This is a role that requires a lot of physical acting, perhaps mirroring Hermas’ mental processes, and movement as well as singing and was very well realized.

– John Gilks, OPERARAMBLINGS BLOG, December 2015
l’homme et le ciel, FAWN Chamber Creative, The Music Gallery, Toronto

Photo by Josh Chong

Photo by Josh Chong

 “Adanya Dunn in the smaller role of The Messenger contributed to the sense of mystery, both in Hermas’s journey and in our own experience of the opera.”

– Leslie Barcza, BARCZABLOG.COM, December 2015
l’homme et le ciel, FAWN Chamber Creative, The Music Gallery, Toronto


Photo by David Bazemore

“Perhaps the most striking aspect of the production was how fully and comfortably the young singers seemed to inhabit their roles, bringing a naturalness to their stage movements that is not always seen on the operatic stage. […]

The energetic cast, most of them under the age of thirty, seemed remarkably adept at accomplishing both their musical and dramatic duties. Adanya Dunn and Deanna Pauletto, playing the stepsisters Clorinda and Tisbe, put in engaging performances throughout.”

– Edmond Johnson, OPERA NEWS, November 2015 Issue
La Cenerentola, Music Academy of the West, California,_CA__Cenerentola.html


Photo by Nino Sanikidze

Music Academy of the West Voice Program Director Marilyn Horne minced no words at a reception following two  performance of the opera last Thursday evening and Saturday afternoon at the Granada Theatre. “You knocked it out of the park,” she declared proudly to her charges about this first production of Cinderella in the nearly 70-year history of the Music Academy.”

“A sturdy supporting cast of singing actors included Cinderella’s silly stepsisters Clorinda (soprano, Adanya Dunn) and Tisbe (mezzo, Deanna Pauletto).”

– Daniel Kepl, CASA MAGAZINE, August 2015
La Cenerentola, Music Academy of the West, California

Below is the issue of CASA MAGAZINE


Photo by Roderick Dunn

“Soprano Adanya Dunn took the stage with a wonderful relaxed stage presence and delighted the audience with her engaging personality.  Ms. Horne guided her through Britten’s “The Salley Gardens”, slowing the tempo and encouraging some sentimentality to good effect.  We truly enjoyed her storytelling in Liszt’s “Die Loreley”.  Shifts in dynamics and tempi made the performance even better.”

– Meche Kroop, VOCEDIMECHE.BLOGSPOT.COM, January 2015
The Song Continues: Marilyn Horne Master Class, Carnegie Hall, NYC




Photo by William Ford Photography

Photo by William Ford Photography

“Finally, soprano Adanya Dunn (and Fawn Opera collaborating artist) was awesome and powerful as the Messenger, filling the performance space with exciting sound. Her first sounds came from behind hanging, translucent panels that filled the stage, and the result gave me goosebumps.”

– Jenna Douglas, SCHMOPERA.COM, April 2014
l’homme et le ciel, FAWN Chamber Creative, Ernest Balmer Studio, Toronto


“Adanya Dunn was the Messenger, also a strong presence.”

– Leslie Barcza, BARCZABLOG.COM, April 2014
l’homme et le ciel, FAWN Chamber Creative, Ernest Balmer Studio, Toronto

“This performance featured […] soprano Adanya Dunn (also FAWN’s producer) as a heavenly vision […] impressive show of commitment to do justice to Scime’s piece after only a few day’s rehearsal.”

– Margaret Lam, BEMUSED NETWORK, April 2014
l’homme et le ciel, FAWN Chamber Creative, Ernest Balmer Studio, Toronto


Photo by Richard Lu

“Adanya Dunn displays a strong coloratura soprano in the role of the schoolteacher Miss Wordsworth, and she shows a great sense of comedy in the scene where her pupils practice the welcome song for Albert.”

– Christopher Hoile, STAGE DOOR & WHOLENOTE MUSIC BLOG, March 2014
Albert Herring, University of Toronto Opera, Toronto


“Adanya Dunn was spectacular as Miss Wordsworth; she gave what I thought was the best singing of the night, and she was just so teachery. Bird-like and constantly multi-tasking, she made my night when she took back the pie she’d brought for Albert’s grieving mother in the final scene.”

– Jenna Douglas, SCHMOPERA.COM, March 2014
Albert Herring, University of Toronto Opera, Toronto




Photo by Marie McDunnough

“The second set, of songs by Kilipine, came from an undergrad soprano called Adanya Dunn with Evan Mounce on piano.  This was a voice with a bit more character; darker in the middle with a clear top register.  She also had good German diction and could act […] A pair to watch.”

– John Gilks, OPERARAMBLINGS BLOG, March 2012
Northern Landscapes, Richard Bradshaw Amphitheatre, The Four Seasons for the Performing Arts, Toronto


“And Adanya Dunn’s Margaret — it is through her eyes that the story unfolds — is superb at scaling the full range of human emotion through voice and gesture.”

– Anna Borowiecki, ST. ALBERT GAZETTE, June 2011
The Light in the Piazza, Opera NUOVA, Edmonton


“I should also mention Adanya Dunn, who plays the child so well and, in a daring move by the playwright, expertly delivers a speech in the Epilogue that basically summarizes the meaning of the play.”

– Christopher Hoile, STAGE DOOR, December 2000
Slavs!, The Tarragon Theatre, Toronto!.html

“[…] and that of a mother (Maria Vacratsis) losing her child (played by the promising Adanya Dunn) to cancer caused by years of radiation exposure.”

– Kamal Al-Solaylee, EYE WEEKLY, November 2000
Slavs!, The Tarragon Theatre, Toronto