"There was one outstanding performer: Alice Baker, as Ruggiero. Her timbre is beautiful. Her delivery is fearless and honest. She has a glowing stage presence and vocal presence."---Andrew Porter THE NEW YORKER.

"Its title character has been interpreted by every notable mezzo soprano through the years. Rosa Ponselle, Maria Callas, and Shirley Verrert are but three who come to mind as memorable Carmens. In the future, however, Alice Baker will be another. She has it all---a magnificent instrument, striking beauty, and great dramatic subtlety....She is a singer of uncommon abilities. Her mellow, mahogany lows are enough to turn on a statute. Her highs are clean, pure, and effortless. Her middle is authoritative yet charming. Baker's L'amour est en oiseau (the Habanera) is flawless. With it she sets the character and draws in not only the hapless Don Jose, but the entire audience. From then, until her death-scene duet with Jose, the focus of all, both on and off stage, is constantly on her, just as the part demands." THE SACRAMENTO BEE

"Alice Baker played the gypsy Preziosilla with the seductiveness and energy one associates with a more visible operatic Spanish gypsy, Carmen." THE NEW YORK TIMES

"... This is a very good Butterfly, remarkable for its two female leads, who do great things to bring the painted screens to life...Alice Baker, a powerful and dramatic mezzo with a fine sense of theater, plays Suzuki, and fully deserved the standing ovation she got on opening night." THE GEORGIA STRAIGHT, Vancouver.

"I could not help admiring the musical and histrionic subtleties of Alice Baker's Ruggiero, qualities that reminded me at times of a mezzo soprano Baker named Janet." ---Leighton Kerner THE VILLAGE VOICE

"There's an eerie, arresting thread woven through her mezzo: it's a voice that remains in the mind and the ear after the curtain falls." THE EDMONTON JOURNAL

"We had the pleasure of a world class singer who has sung with Pavarotti, Carreras, and Schwarzkopf---There was a standing ovation. I could not have seen a better performance of Carmen." THE CAM REPORT

"Alice Baker sang the title role with a powerful, beautifully colored mezzo. She handled the tricky coloratura passages with consummate ease, and sang throughout with constant artistic purpose." THE DETROIT NEWS

"Alice Baker's Carmen had an authentic contralto resonance and a provocatively sullen, fatalistic character." DRAMALOGUE

"...Forget those easy cartoon caricatures. Alice Baker...purrs the Habanera and coos the Seguidilla the way she utters her spoken dialogue...as if she were uttering sweet nothings. Her Carrnen is a subtle creature who must love passionately and often...even while she is compelled by nature to mistreat and deny [Don Josè]." PASADENA STAR NEWS

"Alice Baker gave us insight into the doubts and insecurities that underlie Carmen's outward bravado. For despite her protestations of freedom, she is in reality a prisoner of her emotions. She feels complete only when she is in love, and displays a self-destructive streak in her choice of lovers and in her behavior towards them. As Carmen, Baker...held nothing back. Her wide range was astounding, with a lower register that was full and rich, and glorious high notes that showed no signs of strain, filling the theater with voluptuous sound." THE SACRAMENTO UNION

"Mezzo soprano Alice Baker was probably the most brilliant singer heard in that opera performing the trouser role of Ruggiero with the tone and virtuosity of a young Marilyn Horne."---Carl Cunningham THE HOUSTON POST/SUN

"Legend has it that castrati such as Carestini, Handel's first Ruggiero, were possessed of a virtuosity such as our ears cannot imagine, but in mezzo soprano Alice Baker, St. Louis offered as nice a make-do as anyone could want"---John Bridges THE TENNESSEAN

"Alice Baker was, as Rosina, ideally cast: a coloratura mezzo with great agility and yet with a full sonorous low range, and clear ringing high notes." FRANKFURTER ALLEGEMEINE

"Alice Baker offered her flowing, unusually warm and rich timbred mezzo soprano in the highest of soprano registers as easily as if she were cooing; and yet with an abundance of tone never lacking.." DIE WELT

"First, an armful of roses to Alice Baker, the American mezzo who sings the role of Suzuki... Her voice, pure and warm as sunlight, captures both the character's devotedness and her strength of will. The huge surge of applause and ringing huzzahs when she took her curtain call at the end of the evening demonstrates Baker's talent for cornmunicating across the footlights." THE VANCOUVER SUN

"Baker was wonderful as Suzuki. She has tremendous presence and a clear, true voice." THE VANCOUVER COURIER

"The Suzuki of Alice Baker had vigor and power to spare." ITALIAN PRESS, Vancouver

"Whenever Baker was on stage I felt my attention drawn irresistibly to her..."THE DAVIS ENTERPRISE

"Alice Baker; handsome in voice and figure as Preziosilla, still enough of a newcomer to be singing Emilia in Otello in Los Angles, enough of an emerging star to have sung Carmen opposite Carreras in Rome. Good: the world needs mezzos." OPERA (England)

"The rest of the cast remained unchanged, with...Alice Baker, the magnificent Suzuki."
LOS ANGELES HERALD EXAMINER

"Gifted mezzo-soprano Alice Baker, who was so fine an Emilia in Tuesday's Otello, developed a warm and involving Suzuki." THE SAN FRANCISCO CHRONICLE

"Suzuki, Butterfly's maid, is restricted to expressions of concern about her mistress, but what magic Alice Baker makes of them! She registers a selfless delight at first...then reveals layer upon layer of poignancy..." THE SACRAMENTO UNION

"Mezzo soprano Alice Baker displays a vocal instrument of arresting power and warmth in the role of her servant Suzuki. The flower duet they sing is one of the most beautiful moments in the entire opera." THE SACRAMENTO BEE

"Alice Baker...sang magnificently as Amneris." THE GREENVILLE NEWS

"...the honors clearly went to mezzo soprano Alice Baker, whose impressively full, throbbing tone shone most movingly." LA DAILY NEWS

"The performance was saved by the vigorous Valentin of Roberto Frontali and Siebel of Alice Baker. "---Enrico Cavallotti IL TEMPO (ROME)

"The loveliest voice of the performance belongs to Alice Baker, who demonstrated a sensitive mastery of the vocal line on opening night." TIME OUT (LONDON)

"There was much to admire, too, in the singing. Apologies were made in advance for the Carlotta, Alice Baker, who was suffering from a throat infection, but in the event they seemed unnecessary, for she sang with great presence and authority." THE IRISH TIMES

"Also, it requires a mezzo who can sing equally taxing coloratura. I would wish every soprano had a throat and a tessitura the equal." BELFAST NEWSLETTER

"Baker's mezzo soprano is one of those rare, seamless instruments that can go flawlessly from dusky low notes to ringing high ones, and she uses it with the kind of confidence that comes from sheer talent." THE DETROIT FREE PRESS

"Mezzo soprano Alice Baker has a glorious top, real stage savvy and...far more straight dramatic potential than her role as the maid Nancy showed." THE DETROIT NEWS

"...by American standards, Glimmerglass is an unusually intimate house: a place where words can tell and tiny inflections, vocal or physical, can make their effect. It's a house in which it would be good to hear Kathleen Battle, Dawn Upshaw, Lorraine Hunt, Frederica von Stade, Alice Baker...and on through a catalogue of American [singers] who have not coarsened their voices in the struggle to fill three-thousand seat houses....." Andrew Porter THE NEW YORKER

"....the two extraordinary American singers, and especially the..voice of Alice Baker." STAVANGER OFFENBLAT

"Particularly outstanding was Miss Baker, whose resonant mezzo soared above the orchestra and chorus. Her voice has a beautiful Italianate timbre that is first-class in its quality, and her interpretation of the Prologue Aria was quite moving. "THE VENTURA STAR FREE PRESS

"The Caccini Amarilli was first sung by mezzo soprano Alice Baker: a rich voice of great range which capably handled the opulent fioratura." THE PASADENA STAR NEWS

"There was much to admire, on the other hand, in the sumptuous mezzo soprano of Alice Baker."---Martin Bernheimer, THE LOS ANGELES TIMES

"Alice Baker, whose rich alto has power, both in her chest tones and in the upper register...evident in the sustained opening of the exquisite aria 'Schlafe, mein Liebster', whose lovely lullaby she sang so beautifully." SANTA BARBARA NEWS PRESS

As Carmen:
"Its title character has been interpreted by every notable mezzo soprano through the years. Rosa Ponselle, Maria Callas, and Shirley Verrert are but three who come to mind as memorable Carmens. In the future, however, Alice Baker will be another. She has it all---a magnificent instrument, striking beauty, and great dramatic subtlety. Perhaps subtlety is the key to her success. Others often make of the Gypsy cigarette-maker little more than the town slut. But Carmen is not that cheap. She may be promiscuous, but she is also particular. The difference is small but profound and Baker is fully aware of the difference. Her Carmen is sensuous, for sure, but so much more. Baker's Carmen knows she is beautiful but more important, knows she is intelligent. Her ability to manipulate men comes as much from her ability to figure as from her figure. But Baker is more than a beautiful and skilled actress. She is a singer of uncommon abilities. Her mellow, mahogany lows are enough to turn on a statute. Her highs are clean, pure, and effortless. Her middle is authoritative yet charming. Baker's L'amour est en oiseau (the Habanera) is flawless. With it she sets the character and draws in not only the hapless Don Jose, but the entire audience. From then, until her death-scene duet with Jose, the focus of all, both on and off stage, is constantly on her, just as the part demands." THE SACRAMENTO BEE

"We had the pleasure of a world class singer who has sung with Pavarotti, Carreras, and Schwarzkopf---and who did a stunning performance for us. Alice Baker's supporting cast was also magnificent. There was a standing ovation. I could not have seen a better performance of Carmen---not even at the MET." THE CAM REPORT

"Alice Baker's Carmen had an authentic contralto resonance and a provocatively sullen, fatalistic character." DRAMALOGUE

"If you think you know Carrnen, you won't recognize the lady singing at the John Anson Ford Amphitheater in Hollywood these days. Die-hard traditionalists expect certain things about the title character in this 1875 opera. They envision a barefoot Gypsy siren with rose in teeth and cigarette in hand, a brassy mezzo-soprano who belts out the Habanera and Seguidilla in 'alla putanesca' style (the way the whores do it.). Well, forget those easy cartoon caricatures. Alice Baker, the husky-throated Carmen, purrs the Habanera and coos the Seguidilla the way she utters her spoken dialogue---softly, sometimes almost inaudibly as if she were uttering sweet nothings. Her Carrnen is a subtle creature who must love passionately and often--who still loves her haplessly naive Don Jose even while she is compelled by nature to mistreat and deny him." THE PASADENA STAR NEWS

"I applaud the Sacramento Opera association for trying something different here. But while re-interpreting a classic can be rewarding there is risk as well. For example, this production's Carmen, Alice Baker, gave us insight into the doubts and insecurities that underlie Carmen's outward bravado. For despite her protestations of freedom, she is in reality a prisoner of her emotions. She feels complete only when she is in love, and displays a self-destructive streak in her choice of lovers and in her behavior towards them. As Carmen, Baker may have underplayed the two-dimensional "Spanish Spitfire", but vocally, she held nothing back. Her wide range was astounding, with a lower register that was full and rich, and glorious high notes that showed no signs of strain, filling the theater with voluptuous sound." THE DAVIS ENTERPRISE

"Alice Baker, in the title role, revealed an exceptionally beautiful and impressively big mezzo-soprano. It is warm in timbre and is produced without any apparent effort. While it is limpid in all its registers, it is particularly lovely in the lower one, investing the more tragic aspects of the role with a pathos that is deeply moving." THE SACRAMENTO UNION

From a review for Preziosilla in La forza del destino at the Kennedy Center in Washington DC, critic Allan Kozinn says:
"Alice Baker played the gypsy Preziosilla with the seductiveness and energy one associates with a more visible operatic Spanish gypsy, Carmen." THE NEW YORK TIMES

From a review for a production of Faust in Rome, Maurizio Modugno makes reference to Miss Baker's recent performance of Carmen in the same theatre:
"Closing the cast another two voices to follow: Roberto Frontali (Valentin), and Alice Baker (Siebel), already seen as a Carmen of note; here of beautiful voice, and grand pureness of form. " OPERA OGGI

"Alice Baker certainly has the voice to play Carmen: a dark richly toned instrument that can purr or warble." PRESS TELEGRAM

From a review for Rosina in il barbiere di Siviglia at the Sarasota Opera:
"Baker's gorgeous, richly dark mezzo soprano is the stuff of Santuzza, or Carmen." THE BRADENTON HERALD

"Alice Baker offered a Carmen with an important mezzo soprano: this is a world class voice, with a ringing top, smoky color, nuance, and sensuality to the sound. She possesses the ability to lighten the voice sufficiently to accommodate the more lyric moments of the score, has a real sense of French style, and yet at the same time is capable of revealing with equal ease a full dramatic spinto sound when the music requires it, easily filling the house. And, she can act. She has sung the role in major houses with success, and this listener noted in the program that she made her European debut in the role opposite Josè Carreras in Rome. The audience was certainly convinced of her ability, as they gave her a standing ovation when she came to take her call at evening's end." LANSING PRESS

"Legend has it that castrati such as Carestini, Handel's first Ruggiero, were possessed of a virtuosity such as our ears cannot imagine, but in mezzo soprano Alice Baker, St. Louis offered as nice a make-do as anyone could want. If a touch of fatigue had set in by the time she faced the legato demands of 'Verdi prati', the stalwart Baker---with her vibrant and individual timbre, roused herself for a dazzling display of manly leaps and runs in her final aria di bravura. "---John Bridges THE TENNESSEAN

"Baker's Rosina becomes more and more fun to watch as the opera moves along. She's a woman who professes to have a meek and obedient nature, while actually remaining firmly in charge of the men around her. As a comedienne, Baker is not subtle---this is comic opera, after all--she embroiders her part with flirtatious little asides to express impatience and exasperation: puffing out her cheeks, fanning self, tucking a handkerchief into her bosom. As a singer, Baker's mezzo voice has a dazzling lift to it, soaring above the rest of the cast and the orchestra in the first-act finale, and again in the quintet in the second act. Her duet with Mok near the opera's end is a sublime exchange on blissful love. " SARASOTA HERALD TRIBUNE

"Alice Baker, making her entrance in Scene 2 as Rosina, Don Bartolo's frivolous young ward, comes on initially like a rather flighty, young girl. But Baker's gorgeous, richly dark mezzo-soprano is the stuff of Carmen or Santuzza." BRADENTON HERALD

"Alice Baker was, as Rosina, ideally cast: a coloratura mezzo with great agility and yet with a full sonorous low range, and clear ringing high notes." FRANKFURTER ALLEGEMEINE

"Alice Baker as Rosina offered her flowing, unusually warm and rich timered mezzo soprano in the highest of soprano registers as easily as if she were cooing; and yet with an abundance of tone never lacking, so much so that she can even sing Rossini [notwithstanding the big instrument she possesses] ". DIE WELT

"Rosina dreams of her child-prince....and so longing, with her very womanly figure and bell-deep timbered and ringing voice, Alice Baker awaits the arrival of her March-Prince." FRANKFURTER RUNDSHAU

"Rosina is the puppet of the desires of Don Bartolo. The warm mezzo soprano of Alice Baker is a little heavier that the other voices, yet her coloratura rings out creamily." TAUNUS ZEITUNG

As Angelina in La Cenerentola
"Alice Baker sang the title role with a powerful, beautifully colored mezzo. She handled the tricky coloratura passages with consummate ease, and sang throughout with constant artistic purpose." THE DETROIT NEWS

"Mezzosoprano Alice Baker was an attractive Cinderella. Ms. Baker's voice was dramatic at times, but always clear as a bell." PANTAGRAPH (Illinois)

"Alice Baker as Cinderella was a rich, velvety mezzo with the flexibility to handle Rossini's runs gracefully." MIDLAND DAILY NEWS

"Clearly a capable singer." THE SAGANAW NEWS

As Suzuki in Madama Butterfly"
The relationship between Cio-Cio San and Suzuki, her servant, moves beyond the traditional distance to a visible intimacy... this is a very good Butterfly, remarkable for its two female leads, who do great things to bring the painted screens to life. Elizabeth Hynes (Cio-Cio San) is terrific, a really great Puccini soprano with a fabulous range of voice and emotion and a riveting sense of character. Alice Baker, a powerful and dramatic mezzo with a fine sense of theater, plays Suzuki, and fully deserved the standing ovation she got on opening night." THE GEORGIA STRAIGHT, Vancouver.

"First, an armful of roses to Alice Baker, the American mezzo who sings the role of Suzuki, Cio-Cio San's wise and patient servant. Of all the cast, it was Baker who sang most beautifully opening night. Her voice, pure and warm as sunlight, captures both the character's devotedness and her strength of will. The huge surge of applause and ringing hurrahs when she took her curtain call at the end of the evening demonstrates Baker's talent for cornmunicating across the footlights." THE VANCOUVER SUN

"Director Pamela Berlin's New York theatrical background is clearly evidenced in the piece. The director... elicits strong dramatic performances from all the cast, particularly from Hynes as Butterfly and mezzo soprano Alice Baker as Suzuki. Baker was wonderful as Suzuki. She has tremendous presence and a clear, true voice." THE VANCOUVER COURIER

"The Suzuki of Alice Baker had vigor and power to spare." ITALIAN PRESS, Vancouver

"American Alice Baker was strong as Suzuki, Cio-Cio-San's maid. There's an eerie, arresting thread woven through her mezzo: it's a voice that remains in the mind and the ear after the curtain falls." THE EDMONTON JOURNAL

"The only other performer who matched and even surpassed Cho's acting ability was Alice Baker as Suzuki, Butterfly's servant. Whenever Baker was on stage I felt my attention drawn irresistibly to her. Her discovery of how a rocking chair works, and her subsequent delight in it: and her kind but firm handling o the restless child, 'Trouble' in the vigil scene, were two humorous moments. her Suzuki was reminiscent of Figaro's Susanna---quick-witted and realistic---but this servant was portrayed in a more restrained Japanese style. It was a difficult feat, well done. Baker's gorgeous mezzo soprano voice blended beautifully with Cho's in the flower duet. Their slow, graceful dance as they strewed the stage with pink rose petals was a joy to watch. " THE DAVIS ENTERPRISE

"The rest of the cast remained unchanged, with Neil Wilson as Pinkerton, Peter Glossop, the eloquent Sharpless, and Alice Baker, the magnificent Suzuki." LOS ANGELES HERALD EXAMINER

"No one but Alice Baker, the Suzuki, commanded vocal freshness and beauty. OPERA NEWS

"Gifted mezzo-soprano Alice Baker, who was so fine an Emilia in Tuesday's Otello, developed a warm and involving Suzuki." THE SAN FRANCISCO CHRONICLE

"Suzuki, Butterfly's maid, is restricted to expressions of concern about her mistress, but what magic Alice Baker makes of them! She registers a selfless delight at first in the happiness of her mistress and then reveals layer upon layer of poignancy as she either foresees or responds to her distress." THE SACRAMENTO UNION

"Mezzo soprano Alice Baker displays a vocal instrument of arresting power and warmth in the role of her servant Suzuki. The flower duet they sing is one of the most beautiful moments in the entire opera." THE SACRAMENTO BEE

"Alice Baker's portrayal of Suzuki was poignant, passionate, and meshed wonderfully with Leona Mitchell in the second and third acts." PASADENA STAR NEWS

"There were some fine performances in the subsidiary roles too. Alice Baker played the gypsy Preziosilla with the seductiveness and energy one associates with a more visible operatic Spanish gypsy, Carmen." THE NEW YORK TIMES

"...There are outstanding performances from Alice Baker as the gypsy Preziosilla..." MUSIC WITH 1230 AM RADIO REVIEW

"Alice Baker was a lusty Preziosilla, witty as a bar wench and rousing as the patriot in Act III." THE WASHINGTON TIMES

"Alice Baker as the gypsy Preziosilla has an attractive and well trained voice; she performed tastefully in a role that has to be larger than life." THE WASHINGTON POST

"We were treated to all of Preziosilla's music with Alice Baker, a newcomer to the company, on hand to give it the zing it needs." WGMS Radio. Washington, DC

"In supporting roles there was Alice Baker's surprisingly eloquent delivery of Emilia's few lines." THE LOS ANGELES HERALD EXAMINER

"From the 1986 cast Alice Baker returned as a forceful, supportive Emilia. LOS ANGELES TIMES

"Three out of four of Currie' s soloists superbly abetted the operatic ambiance---mezzo soprano Alice Baker, tenor Richard Leech, and bass Richard Cowan." THE LOS ANGELES HERALD EXAMINER

"Mezzo soprano Alice Baker was the subject of a pre-concert advisory noting that she had been forced because of illness to cancel a concert for the first time in her career, last Friday in Detroit. One listened in vain for any lingering traces of her ailment Sunday, and she sang with a generous amount of feeling and warmth." THE REGISTER

"Alice Baker (Siebel), already seen as both a Carmen and an Isabella of note, here of beautiful voice and great pureness of style." OPERA OGGI

"The loveliest voice of the performance belongs to Alice Baker, who demonstrated a sensitive mastery of the vocal line on opening night." TIME OUT (LONDON)

"There was much to admire, too, in the singing. Apologies were made in advance for the Carlotta, Alice Baker, who was suffering from a throat infection, but in the event they seemed unnecessary, for she sang with great presence and authority." THE IRISH TIMES

"Alice Baker as Carlotta sings in rich balance, and in excellent characterization, especially in her long lovely aria in the orchard scene." CORK EXAMINER

"Alice Baker showed a glowing mezzo as the heroine's friend." IRISH INDEPENDENT

"Also, it requires a mezzo who can sing equally taxing coloratura. Although Alice Baker professed a sore throat, I would wish every soprano had a throat and a tessitura the equal." BELFAST NEWSLETTER

"Although she was said to be suffering from a throat infection, Alice Baker's performances was first rate." WEXFORD EVENING INDEPENDENT

"Mezzo soprano Alice Baker has a glorious top, real stage savvy and, one guesses, far more straight dramatic potential than her role as the maid Nancy showed." THE DETROIT NEWS

"Alice Baker as Nancy, her pal in the dubious enterprise, is a very promising mezzo with fine stage presence. She and Christman produced some very harmonious vocal lines together---almost like a warm-up for Norma." OPERA (England)

In an article in THE NEW YORKER on the occasion of the inauguration new Theatre at the Glimmerglass Opera Festival:
"By German standards, Glimmerglass is not an especially small theater: the Opera houses of Bonn, Bielefeld, Essen,.. and the Gartnerplatz Theatre in Munich have a smaller capacity. It is larger than the Monte Carlo Opera, where all the great singers once sang and many important operas were created.... where Brigit Nilsson, Elisabeth Soderstrom, Regine Crespin, Carol Vaness, and Luciano Pavarotti have sung. But by American Standards Glimmerglass is an unusually intimate house: a place where words can tell and tiny inflections, vocal or physical, can make their effect. It's a house in which it would be good to hear Kathleen Battle, Dawn Upshaw, Lorraine Hunt, Beverly Hoch, Carmen Pelton; Frederica von Stade, Emily Golden, Alice Baker, Molly Donnelly; Drew Minter and Jeffery Gall...and on through a catalogue of American [singers] who have not coarsened their voices in the struggle to fill three-thousand seat houses....." Andrew Porter THE NEW YORKER

In Stavanger, Norway, in Mozart's Grand Mass in C Minor:
"....the two extraordinary American singers, and especially the clear and flexible voice of Alice Baker." STAVANGER OFFENBLAD

In the Manzoni Requiem of Verdi:
"Of the vocal soloists, the honors clearly went to mezzo soprano Alice Baker, whose impressively full, throbbing tone shone most movingly." LA DAILY NEWS

"Three out of four of Currie' s soloists superbly abetted the operatic ambiance---mezzo soprano Alice Baker, tenor Richard Leech, and bass Richard Cowan." THE LOS ANGELES HERALD EXAMINER

"Mezzo soprano Alice Baker was the subject of a pre-concert advisory noting that she had been forced because of illness to cancel a concert for the first time in her career, last Friday in Detroit. One listened in vain for any lingering traces of her ailment Sunday, and she sang with a generous amount of feeling and warmth." THE REGISTER

With conductor Leonard Slatkin and the St. Louis Symphony for performances of Mahler's Third Symphony:
"The fine mezzo soprano soloist in the fourth and fifth movements was Mice Baker, the Ruggiero in last summer's Opera Theatre production of Handel's Alcina. " ST. LOUIS POST DISPATCH

For performances of Mahler's "Des Knaben Wunderhorn":
"Mezzo soprano Mice Baker possesses a voice of remarkable size and her control of it seems quite secure. She also possesses considerable exuberance, which carried her through the Mahler songs...." THE FRESNO PRESS

In Berlioz' Romeo et Juliette:
"Mezzo soprano Alice Baker added her fine voice, as she sang the tender 'Love's first kiss is ne'er forgotten.' Baker's clear soprano arias rose above the accompanying harp." VENTURA PRESS

"Particularly outstanding was Miss Baker, whose resonant mezzo soared above the orchestra and chorus. Her voice has a beautiful Italianate timbre that is first-class in its quality, and her interpretation of the Prologue Aria was quite moving. " THE VENTURA STAR FREE PRESS

For performances at Ambassador Auditorium with I CANTORI:
'The Caccini 'Amarilli' was first sung by mezzo soprano Alice Baker: a rich voice of great range which capably handled the opulent fioratura. The more impressive soloists, Miss Baker, alto Lou Robbins, tenor Byron Wright in particular----displayed more richness and color in their solos." THE PASADENA STAR NEWS

In Handel's Messiah:
"Mezzo soprano Alice Baker provided a solid performance and many beautiful tones." LOS ANGELES TIMES

In Mendelssohn's St. Paul Oratorio:
"Of the four soloists, this listener was most impressed with the warm liquid tone of mezzo soprano Alice Baker, who unfortunately had only one solo turn and was heard but briefly in two quartet segments in the second part of the work. One wished to hear more from her." THE REGISTER

For Beethoven's Missa Solemnis:
"There was much to admire, on the other hand, in the sumptuous mezzo soprano of Alice Baker." Martin Bernheimer, THE LOS ANGELES TIMES

"Mezzo soprano Alice Baker, made for this listener, the most consistently appealingly mellow sounds of the great quartet." THE REGISTER

For the Ninth Symphony of Beethoven:
Clear, precise, solo portrayals from mezzo soprano Alice Baker." THE STAR (Illinois)

For Monteverdi's L'incoronazione di Poppea:
"The most notable and beautiful sounds came from Alice Baker." OPERA NEWS

In Bach's Christmas Oratorio:
"Alice Baker, whose rich alto has power, both in her chest tones and in the upper register, as tremendous breath control was evident in the sustained opening of the exquisite aria 'Schlafe, mein Liebster', whose lovely lullaby she sang so beautifully." SANTA BARBARA NEWS PRESS

In the works of Gilbert and Sullivan:
"Alice Baker brought rich vocalism to the title role as Iolanthe." LOS ANGELES TIMES

"Alice Baker sang Ruth with a rich, ample mezzo." THE LOS ANGELES TIMES