Caroline Worra

TIME OUT NEW YORK magazine
From "We got next" - By Steve Smith

TONY's favorite artists give a nod to the rising stars they're watching.

The pick: Caroline Worra, operatic soprano, seen above

The fan: Mark Adamo, composer of the operas Little Women and Lysistrata

What’s the story? Caroline’s an immaculate musician and vocally complete, but that’s only where a singer starts. Her sound is utterly her own—rich, bright, crackling with electricity—and every time I hear her she’s a bolder, more inventive actress.

First encounter? I met her as a Glimmerglass Young Artist, preparing her first Amy in the Little Women production she later accompanied to New York.

Latest sighting? I engaged her to sing Lysia on the demo recording of Lysistrata. I’ve also heard her in The Mines of Sulfur, The Greater Good and most recently in Lance Horne’s terrific Three Lost Chords at the Zipper Theater. In “The Girl I Left Behind Me,” the central scene of Three Lost Chords, her intensity was such, you could hardly draw breath.
Stolen anything? By definition, I can’t really steal anything from Caroline. But, as Leonard Bernstein once said of Maria Callas, if I could sing like that I’d never write another note again.