Mimì, La bohème

by Beth Stewart

Washington National Opera, 2014

"Winters' Mimi is ethereal and sweet, as her character clings to new life while hers is fading away. This is a production that can resonate with everyone."
Heather Nadolny, BroadwayWorld

"As Mimì, Corinne Winters, who easily caught the character's fragility and depth, soon revealed a warm, supple voice to go with the winning portrayal. She molded “D'onde lieta uscì” with considerable sensitivity and darkly beautiful tone, qualities that also emerged touchingly in the last act."
Tim Smith, Opera News 

"Most of the singers are new to the WNO—they sang with great clarity and strength after a slow start—and by the time Mimi’s hand dropped lifelessly, you could hear sniffling begin here and there, to the right of me, to the left of me and behind me."
Gary Tischler, The Georgetowner

"Saimir Pirgu (Rodolfo) and Corinne Winters (Mimì) both have great acting and vocal chops and their chemistry makes their instant love affair entirely believable. Winters brings a believable sweetness and innocence to the role, though her voice is anything but; it’s mature and powerful."
Jessica Vaughan, DC Metro Theater Arts

"Maryland native Corinne Winters is one of America’s most gifted young sopranos, and her singing of Mimì’s music offered tantalizing vistas of how her career promises to develop in seasons to come. Ms. Winters was not yet a perfect Mimì, but she exhibited refreshing respect for the rôle. She put moments of stress to use as affirmation of the ravages of Mimì’s illness—the mark of a skillful singer. Above all, she trusted Puccini’s music to sustain her. Placing her trust in Puccini, the audience trusted her, and she repaid that trust with a performance of delicacy and chaste tragic potency."
Joseph Newsome, Voix des Arts

"On Saturday, Corinne Winters gained in expressive force as the performance proceeded. Her phrasing and tone coloring in "D'onde lieta usci" proved quite poignant, as did her death scene."
Tim Smith, Baltimore Sun

"Making Mimi more than a beautiful songbird is not easy, as she is already ill and frail when we meet her in Rodolfo’s icy garret. However, Winters brings a quietly enduring hopefulness to her young woman, which owes a lot to understatement. There is no hand-wringing, the swooning is minimal, and what issues from Winters are the hallmarks of Mimi’s unique spirit — a quiet self-possession and intelligence. Of course, it is Mimi’s song that must bring her pathos and Winters’ soprano is heartbreakingly lovely. Sweet but not saccharine, subtle but gratifyingly true, a sound that is the essence of Mimi herself."
Kate Wingfield, Metro Weekly