Boston Opera Collaborative Room&Board&Opera
...The singer-actors that ran around the second floor of Room & Board were more than up to the acting challenge that performing so close to the audience came with: they had almost no room to hide, and the singers all met the demands of the work without sacrificing anything in the beauty of tone.The cast of Always displayed this brilliantly, particularly with Hunter and DeFranco’s lovestruck puppy performances. Arturo Fernandez for Schmopera
American Bach Soloists Mass in B Minor
The ensuing duet, Domine Deus, featured sweet-voiced soprano Carley DeFranco and robust tenor Haidar Haitham, while the accompanying flute solo was by Lynn Hallarman. James Roy MacBean for The Berkeley Daily Planet
Emmanuel Music Beggar's Opera
Soprano Carley DeFranco as Lucy Lockit, the jailer’s daughter and the other major love interest of Macheath, was sassy, funny—a joy to watch and to hear. Susan Miron for The Boston Musical Intelligencer
Emmanuel Music Ode to St. Cecilia
“Orpheus could lead the savage race” was marked “Alla Hornpipe” by Handel. The dance, with its sharp accents and syncopations, was known to him from Purcell’s theater music and from published country-dance anthologies. Soprano Carley DeFranco matched the violin acrobatics with virtuosic roulades. Virginia Newes for the Boston Musical Intelligencer, 2018
Carley DeFranco’s “Orpheus could lead the savage race” was aptly burnished,
her melismas with the violins spot-on. Jonathan Blumhofer for Boston Classical Review
Boston Opera Collaborative's Opera Bites 2018
Tenor Wes Hunter and soprano Carley DeFranco built a tower of tension in composer Marti Epstein and librettist Claudia Barnett’s iridescent “Absent Grace,” while their spiky back-and-forth melted into uneasy intimacy. Zoë Madonna for the Boston Globe
Immediately noticeable in Absent Grace was the mysterious and other-worldly atmosphere created by the mournful and solitary stage set and by composer Marti Epstein’s discreet overture, evocative of instruments tuning before a concert, suggestive of the fact that we are never sufficiently attuned to the score that is life. Epstein’s remarkable music functioned in tandem with Claudia Barnett’s haunting libretto, telling the story of loss, grief and forgiveness in its own ineffable idiom, more as a dialogue throughout than simple accompaniment. Clearly, Barnett’s beautiful, succinct idea of strangers who need each other in order to heal through substitution and who discover what they live through transposing it into a shared spiritual experience, deeply inspired Epstein’s music. Wes Hunter as “Him” and Carley DeFranco as “Grace” were nuanced and moving in navigating subtle shifts of mood.
Leon Golub for The Boston Musical Intelligencer
Boston Opera Collaborative's 'Mirror': An immersive song cycle experience
Carley performed Schumann's Frauenliebe und Leben
...Soprano Carley DeFranco is no less impressive as Schumann’s heroine, bringing authenticity and depth to a role that might run easily into caricature. Indeed, though Brown has the more difficult music, I would argue that DeFranco has a greater dramatic challenge at hand, working with an overly embroidered text by Adalbert von Chamisso; the dainty lyrics which may have suited 19th century tastes can read as saccharine to a 21st century listener. DeFranco avoids coming across as a proto-Disney princess by embracing and committing fully to her character and to her text. Aided by a warm, supple soprano with a tone that can only be described as “sunny”, DeFranco fully embodies the innocence of a young woman in the throes of an idealized first love; there is a springtime freshness to her reading that makes Woolf’s world-weariness all the more difficult to bear. Yet the rosy enchantment DeFranco portrays at the beginning of the evening belies the fully mature woman we encounter in the show’s final scene—the young widow’s lament for her beloved spouse was subtle yet heart-rending, almost filmic in its realism.
Kate Stringer for The Boston Musical Intelligencer, 2017
Two portraits of women, written over a century apart. The first is an idealized character looking to not only marry, but be subsumed by her husband’s identity in a happy, storybook life. In German, she sings of having no desire beyond being this man’s wife. She is the heroine of Robert Schumann’s Frauenliebe und -leben (A Woman’s Love and Life) from 1830, itself based on a series of poems by Adelbert von Chamisso. Two men filter the story of a fictional woman, a touching if pastel view of a girl coming of age. Carley DeFranco breathes life into this creature with a Disney-esque sweetness.
Gillian Daniels for The New England Theatre Geek, 2017
Boston Opera Collaborative's Opera Bites 2015
Wilde Epigrams made for an intriguing experiment in text appropriation...Mark Williams and Carley DeFranco volleyed their verbal hand-grenades in spiteful glee. Kate Stringer for The Boston Musical Intelligencer, 2015
Polymnia Choral Society’s Mass in G
The Schubert Mass brought excellent soloists. Stunning was the exquisitely soaring soprano of Carley Defranco, her tone delicate and unchanging as she soared high with ease. Jackie Wattenburgh for Melrose Free Press, 2015
Polymnia Choral Society's Dido and Aeneas
I was glad again to see young Carley DeFranco, with those smooth, silvery soprano tones as Belinda.
Jackie Wattenburgh for Melrose Free Press, 2015