England 

Glyndebourne

“So much depends on Susanna in this perennially fresh opera that I must mention Evelyn Mandac first. She might well be considered the ideal Susanna; she has a beautifully even voice of a warm quality and her enunciation seems faultless... the charm and the vitality that go to make this particular character the most important in the opera... The seeming spontaneity of Evelyn Mandac’s reactions, her unerring instinct for the right glance or gesture, made of her performance a thing to remember.” Deas, Stewart.  "The Ideal Susanna." Review of Le Nozze di Figaro, Glyndebourne. Country Life.

"Top of the list is a deliciously sun wittily and freshly acted Susanna by Evelyn Mandac, a superb performance which richly reasserts the pre-eminence of truthful character drawing in 'Figaro'..." Walsh, Stephen. "The Politics of Figaro." Review of Le Nozze di Figaro, Glyndebourne. The Observer Review.

"Evelyn Mandac, a Filipino, makes a most delightful and vivacious Susanna... gifted with a lovely, firm, true voice heard at its best in her touchingly simple account of Deh Vieni." Sodie, Stanley. "A Deeply Perceptive Account - Le Nozze Figaro." Review of Le Nozze di Figaro, Glyndebourne. The Times Saturday Review.

“The surprise of this performance is that for once Despina emerges as a central character, perhaps the central character, thanks to the personality and delightful singing of Evelyn Mandac.” Greenfield, Edward. Review of Così Fan Tutte, Glyndebourne. The Guardian.

“The honours went to the Despina of Evelyn Mandac, who pointed her words superbly and at the same time was highly vivacious…” Edwards, Sydney. Review of Così Fan Tutte, Glyndebourne. Evening Standard.

Italy

Rome

“Evelyn Mandac was an exquisite, tremulous Melisande.” Bellingardi. Luigi.  Review of Pelléas et Mélisande, Teatro dell'Opera di Roma. Opera Magazine.

California

Carmel Bach Festival, Carmel-by-the-Sea

“Evelyn Mandac was an incredibly good protagonist, offering a silvery, ultra-clean soprano and the buoyant sort of phrasing one associates with a poetic ballerina.” - Bloomfield, Arthur. "Variety at Carmel Festival." Review of Carmel Bach Festival. The San Francisco Examiner.

Marin Veterans Memorial Recital, Marin

“To hear Evelyn Mandac is to be in a gothic church of sound: tall, fluted arches curve with grace and tone, a color glows like light through stained glass. There is both luxury and reserve in her voice and in her deportment… She has an accuracy and fluency like Maria Callas with a warmer, softer, less brittle sound... There is a restfulness to her singing... finely detailed and articulate, beauty combined with artful shaping.” Samson, Blake A. "Evelyn Mandac: Luxury, Reserve." Review of Evelyn Mandac's Recital by the Marin Concert Association. The Daily Independent Journal.

San Francisco Opera, San Francisco 

"...the light-voiced Filipino soprano Evelyn Mandac was a Susanna with the pure captivating qualities of a very youthful Bidu Sayao... She sang with taste and expressive personality. Her every movement was witty, shrewd, gently individual and, when need be deeply dignified.” -Fried, Alexander. "A Charming 'Figaro' Proves a Point." Review of Le Nozze di Figaro, San Francisco Opera. The San Francisco Examiner.

"Evelyn Mandac as Ines, Placido Domingo as Vasco de Gama, and Shirley Verrett as Selika L'Africane of the title. Of the three, Miss Mandac displays the subtlest musicianship..." Kopelson, Robert. "View from the Gallery - L'Africaine." Review of L'Africaine, San Francisco Opera. The Daily California Arts Magazine.

"... for me the star of the evening was the Filipino soprano, Evelyn Mandac... She is an extraordinary moving lyric soprano with flawless style and a voice flooded with humanness." Rich, Alan. "Meyerbeer's Opera L'Africaine." Review of L'Africaine, San Francisco Opera. The New York Magazine.

District of Columbia

Washington National Opera, Washington

“All of Puccini’s heroines undergo some sort of psychological change between their first and last acts, Mimi somewhat less than most. Evelyn Mandac handled the progression with great subtlety. Above all, she used her warm, beautifully-schooled voice with consummate taste. She is one of the most appealing interpreters of the role in recent memory.” Jahant, Charles. Review of La Bohème, Washington National Opera. Opera Magazine.

“Miss Mandac brought a fire-and-ice sensuality to the role... This quality of Mandac remains with her. She fills the room with a magnetism so thick you can cut it with a baton.” Review of Manon, Washington National Opera. The Chapel Hill Newspaper.

New Mexico

Sante Fe Opera, Santa Fe

“Perhaps the most satisfying production of all [during the summer opera festival] was the “Pelleas et Melisande...” Miss Mandac sang and acted an exquisitely touching Melisande… This was Santa Fe at its best...” Howard, Ken. "Putting the Festive into Opera Festival." Review of Pelléas et Mélisande, Sante Fe Opera Festival. The New York Times.

New York

Carnegie Hall, New York City

"... as for Miss Mandac, it would hardly be hard to over praise her kind of silvery, beautiful sensitive singing. She is on the threshold of a great career. She also happens to be an extremely beautiful young lady." Schoberg, Harold. "Concert: Baltimorears." Review of International Festival of Visiting Orchestras series with Baltimore Symphony Orchestra at Carnegie Hall. The New York Times.

Metropolitan Opera, New York City

“In “Gianni Schicci,” Philippine-born Evelyn Mandac displayed a soprano voice that was clear and heart-meltingly gentle.” "Met Revives "Il Trittico"." Review of Il Trittico, Metropolitan Opera. The Miami Herald.

Texas

Houston Grand Opera, Houston

“... her ‘Lascia ch’io pianga’ was lovely and affecting.” Review of Rinaldo, Houston Grand Opera. Opera Magazine.

San Antonio Symphony's Grand Opera Festival, San Antonio

“But for my money the superlatives should go to Swedish soprano Birgit Nilsson, Filipino soprano Evelyn Mandac and the San Antonio Symphony Orchestra… Evelyn Mandac’s Liu was soulfully and physically beautiful to behold; her voice has a loveliness beyond my descriptive capabilities, and her acting reflected a marvelous sense of understatement and restraint.” Nickell, Tom. "Feminine Singers Steal Show." Review of Turandot, San Antonio Symphony's Grand Opera Festival. The San Antonio Express.

“Evelyn Mandac, in her first performance as Liu, endeared herself to the audience by bringing to dramatically credible and musically beautiful life the character who gives up even life itself in the name of love.” Thibodeau, Ralph. Review of Turandot, San Antonio Symphony's Grand Opera Festival. Corpus Christi Caller-Times.

"Evelyn Mandac was a wonder. She is a beautiful woman and her bright, clear voice is gorgeous- and what she does with it is high artistry." Review of Turandot, San Antonio Symphony's Grand Opera Festival. Times.

Washington

Seattle Opera, Seattle

“On hand as the pathetic Liu is a young Filipino soprano, Evelyn Mandac. She has a voice of appealing timbre, ideal for a Puccini innocent.. And young Miss Mandac is just about ideal both visually (comely, petite, almost a figurine) and vocally (Liu’s final plea provided the evening’s most affecting moment of pathos). Indeed, the whole gallery of betrayed Puccini heroines is available to Miss Mandac.” Hill, Bob. "Diva in Seattle." Review of Turandot, Seattle Opera. Spokane Chronicle.

“Evelyn Mandac singing the role of Liu received frequent spontaneous applause. The beautiful, young Philippine woman portrayed an emotive stage presence and her clear, rich soprano voice became a favorite second only to Nilsson.” Savage, Mary. "Visuals Turn-on Opera." Review of Turandot, Seattle Opera. The Spectator.

“Evelyn’s fetching, silvery-voiced Mimi... notable both for vocal good manners and dramatic involvement…” Watmough, David. Review of La Bohème, Seattle Opera. Opera Magazine.

“”Black Widow,” the newest opera by the young American composer Thomas Pasatieri, received a standing ovation at its World Premiere Thursday night at the Seattle Opera… As Berta, the young bride tricked out of her baby, Filipino soprano Evelyn Mandac’s bell-like voice was superb, soaring to great heights in the role specifically written for her.” "American Opera a Hit at Premiere." Review of Black Widow, Seattle Opera. Philadelphia Daily News.

“Special honours in the performance go to Evelyn Mandac for her poised, lyric singing and dramatic conviction in the role of the wronged wife Berta.” Watmough, David. Review of Black Widow, Seattle Opera. Opera Magazine.

"Mandac is a marvelously thrilling singer to watch and hear. Her voice is effortlessly and perfectly produced. Pasatieri wrote in the role many lines of special effect, drawing on her gifts for pianissimo high song, as well as real dramatic powers." Hume, Paul. "Black Widow: Promising." Review of Black Widow, Seattle Opera. The Washington Post.