Excellent performance... vibrant soloist.

– Gramophone

Fox vocally winks at us...

– Houston Press

Fox is at her best.

– Opera News

...fully embraced Strauss' sonic illumination...

– TribLIVE

Beautiful soprano voice capable of mesmerizing an audience...

– Pittsburgh in the Round

...she soared through the composer’s coloratura...

– Tribune Live

Blew the lid off the joint...with dazzling effect.

– Pittsburgh Stage Review

Not only a great sound, but also high expectations for performance.

– Marketing for Orchestras

Sang splendidly... showing a flair for the comic.

– Pittsburgh Post Gazette


Photo credit: Shannon Langman

Aminta in Die schweigsame Frau/The Silent Woman with Opera Theater of Pittsburgh

Julia Fox, as Aminta, “the silent woman,” was fortunately anything but, since she possesses a beautiful soprano voice capable of mesmerizing an audience both in solo singing and the massive ensembles, and her strong tones rang quite resoundingly throughout the evening. The character in Jonson’s original play is a malicious one, but Zweig infuses the part with more empathy and sympathy, qualities that Ms. Fox’s singing and acting displayed with a delicate prominence, if such a thing is possible. She presents a charming appearance, and gave all aspects of the character an exceptional rendition.”

–George B. Parous, Pittsburgh in the Round

“Soprano Julia Fox also fully embraced Strauss’ sonic illumination of Zweig’s libretto. Fox can turn on a dime dramatically, and made her character’s remorse at tricking the old man after he’s shown such genuine concern for her completely convicting. Her singing was under powered at the start, but when she was fully warmed up she soared through the composer’s coloratura with piercing high notes designed to be intolerable to Morosus.”

–Mark Kanny, TribLIVE

“Also evident in rehearsal were Julia Fox’s ease with Aminta’s excursions into the vocal stratosphere and Dimitrie Lazich’s comfortable stage demeanor as the barber, the catalyst figure for all the plot proceedings.”

–Robert Croan, Pittsburgh Post-Gazette

Amore in Orfeo ed Euridice by Gluck with Opera in the Heights April 2016

Amore, the only other leading role in the opera, is slyly portrayed by soprano Julia Fox. Foxy she is, as she vocally winks at us as she expounds Love’s deepest meaning while looking at us askance. Dressed to the nines in spectacular wings and Grecian bling (thank you, costumer Barry Doss), Fox seems to know more about the sexy mysteries of love than anyone else on stage.” 

By D.L. Groover / Houston Press



Italian Singer in Capriccio by Richard Strauss with Opera Theater of Pittsburgh

“Julia Fox and Rafael Helbig-Kostka sang the difficult Italian duet splendidly, Ms. Fox in particular showing a flair for the comic – gorging on food and drink, then showing the effects without becoming totally ludicrous.”
By Robert Croan / Pittsburgh Post-Gazette

“Tenor Rafael Helbig-Kostka and soprano Julia Fox were delightful in their duet, each trying outdo the other.”
By Mark Kanny / Tribune Live

“Rafael Helbig-Kosta and Julia Fox as the Italian opera singers, were vocal and comic delights.”
By Richard B. Parous / Pittsburgh Stage Review

Applegate in Damn Yankees with Opera Theater of Pittsburgh:

“Julia Fox, as the Mephistophelian Mr. Applegate, proved almost as soon as she stepped onto the scene that she was going to be one of the dominating personages of the evening. But she quite unexpectedly “blew the lid off the joint,” as the saying goes, when, after one of her numbers, Michaella Calzaretta stepped out of her place as conductor and into the action, calling for an encore. Ms. Fox obliged, of course, and interpolated into her encore a sizeable piece of the “Queen of the Night” aria from Mozart’s Die Zauberflöte with dazzling effect.”
By Richard B. Parous / Pittsburgh Stage Review

“And if Julia Fox was more shrill than smarmy as Mr. Applegate, she hit a home run when she sang “Those Were the Good Old Days,” turning it into a satiric aria complete with cadenza using a musical quote from Mozart’s “Queen of the Night.””
By Jane Vranish / Pittsburgh Post-Gazette

“But attention is first and foremost on the voices, which often exceed expectations — notably, Julia Fox as Applegate delivering “Those Were the Good Old Days.””
By Alice T. Carter / Tribune Live

“And watch out for Julia Fox as the devilish, red-jacketed Applegate: It’s an enjoyably hammy, mostly non-singing role, but in Act II, Fox makes the most, and then some, of her big number, “Those Were the Good Old Days.””
By Bill Driscoll / Pittsburgh City Paper

Woman in Architect by Lewis Spratlan released by Navona Records:

“The DVD presents the work with watercolours (by Michiko Theurer), videos and photographs of Kahn buildings that complement the excellent performance featuring three vibrant soloists – soprano Julia Fox, tenor Jeffrey Lentz and baritone Richard Lalli – and a superb ensemble of nine players led by Mark Lane Swanson.”

By Donald Rosenberg for Gramophone

“Serious demands are made upon the singers, and fortunately all three live up to the task. Tenor Jeffrey Lentz brings a great deal of passion to his depiction of Kahn, covering a gamut of emotion from deep analytic thought to ecstasy. Baritone Richard Lalli portrays the trickster god Momus in four different guises. He successfully makes each characterization unique. Soprano Julia Fox portrays Woman, an amalgam of the three women who played strong roles in Kahn’s life (and who each bore him one child). Fox is at her best in the above-mentioned aria, and in the gentler passages of the dream sequence. Mark Lane Swanson and the instrumental musicians are all first-rate.”

By Arlo McKinnon for Opera News

Song recital with Grace Song, Inc:

“Soprano Julia Fox, whom I hadn’t heard before, brings not only a great sound but also high expectations for performance. This was a well-rehearsed recital with meaning.”

From “Better Than Talking From The Stage: Silence” by Bruce Robinson Marketing for Orchestras