Press

Olyrix

“Deepa Johnny, the Omani mezzo-soprano, embodies Penelope with a dignity that suggests Ulysses is in her very soul. Her long, bittersweet notes convey a restrained fury, both in her straight-tone singing and narration. Occasionally, she steps away from her regal demeanor, her queenly, statue-like presence, to share a few intimate confessions from the edge of her lips. She weaves her singing like a loom, alternating between velvet and coarse fabric, using lingering vowels that leave traces like venom.”

Prèmiere Loge

“Mezzo Deepa Johnny appears as the very incarnation of Penelope, draped in an elegant bronze costume. She is as comfortable in this role as she was in her Carmen which brought her to attention not long ago. Her presence on stage gives off an aura that her warm, coppery voice asserts with ease. From her first scene, she fascinates the audience with the aria: ​“I am a mortal thing” which she sings detached and worried. Each of her appearances on stage creates a presence comparable to that of the famous tragedienne Irène Papas. Her final duet with Ulysses finally sees her lay down her arms and devote herself completely to the return of happiness, in heady melismas.”

Radio Classique

The formidable and sensual Carmen by Deepa Johnny, a young Canadian mezzo-soprano of Omani origin, caused a sensation on Friday at the premiere

Première Loge

Deepa Johnny is definitely Carmen...The pulp of the mezzo timbre is opulent, the warm colour of the voice is ideally suited to the sunny role and her pronunciation of French is well worth that of certain French Carmen.

Forum Opera

Deepa Johnny is a revelation. It’s hard to believe that she is not French-speaking as the French is clear. The colour of the voice is superb, with powerful bass and controlled treble. She takes to the stage with fever and confidence.

Olyrix

Articulating its registers with virtuosity, a large dynamic scale and its expressive palette, the voice knows how to be sinuous, serpentine in seduction and scathing like a slap when Carmen wants to be hurtful or to be respected.

New York Times

“Venables’ score is at its most patient showcasing the vocal beauty of Deepa Johnny”

The Opera Tattler

Her full, pretty sound is resonant, and she sang her mournful "L'ho perduta, me meschina" was touching. She didn't seem to have any problems singing the role, even though it is normally cast with a soprano.

Seen & Heard International

Rounding out the cast were Deepa Johnny as Barbarina, who made her LAO debut as Eliza in Omar and is a singer to watch

Parterre Box

This exceptionally strong ensemble had one other delicious standout in Deepa Johnny. Her showcase aria in the second act compares Omar’s writing on the walls of his jail cell to birds flying through the sky. She brought a lovely, bright, flutey mezzo soprano to the piece and her youthful joy was credible and sweet

Parterre Box

Deepa Johnny excelled in her role debut as the page Cherubino both in the ease of delivery of her delicate instrument and in her complete transformation for the trouser role. She had a great comic timing as well, and the audience loved her cross-dressing antics!

Broadway World

Cordell Reports

While Cherubino acts as a sidekick, he has some of the funniest situations, which Johnny handles with great aplomb. What’s more, he (Cherubino)/she (Johnny) has two great vocal highlights, the rapid patter “Non so più cosa son” and the ever popular “Voi che sapete.” Johnny is up to the vocal demands as well with a warm vibrato and big sound.

Seen and Heard International

The quartet of women, including... Deepa Johnny as a steady Meg Page, meshed beautifully in their scenes and ensembles, and created distinct characters both physically and vocally.

Seen and Heard International

The alluring, rich-voiced mezzo-soprano Deepa Johnny introduced me and I suspect others, to the songs of Alberto Hemsi…Her performance of three of his songs revealed a deep connection to this colourful, exotic music which she performed with such flare.

Indiana Public Media

Mezzo, Deepa Johnny, makes the arc of Carmen’s story her energy, her lovers and her final death at the hands of Don Jose a compelling tale

Concert Classic

To give his approach its full meaning, Pierre Audi benefits from an exceptional cast, whether in terms of vocal qualities or stage investment. In fact, if the work does not contain lyrical airs, it requires flawless musicality of the voices for a perfect expression of feelings. From the outset, Deepa Johnny imposes her Penelope with a lamentation that is deeply moving; the Canadian mezzo-soprano takes on the role for the first time and is totally convincing.