"The popularity of [opera in concert] performances with audiences suggests that the public is hungry for more opera than it gets. Turandot is the fourth opera in the series that conductor Jeffrey Rink has led with Chorus pro Musica. It was an ambitious, worthwhile, and enjoyable performance . . . enthusiastic, emotionally charged, and exciting. . . . Chorus pro Musica sang with style, imaginative intent, a thrilling focus, balance, and volume of tone. Probably none of our other local choruses could have done this particular job this well. Rink's work was passionate, committed, colorful, and secure. . . . [Maria] Ferrante has voice and presence and she knows the style (she worked on Liu with both [Franco] Corelli and Licia Albanese). There were some beautiful things in her performance. . . . Maxwell Li earned a big hand for Calaf's hit tune, 'Nessun Dorma,' which he stood and delivered. . . . Soprano Catherine Kelly has been singing the demanding title role for four seasons at the New York City Opera. She has the range, the steadiness, the power, and the stamina for it, as well as a certain daredevil pluck that you have to like."  Richard Dyer, Boston Globe

"Concert Opera Boston sponsors lectures and master classes to help develop enthusiastic audiences [for opera]. This nearly sold-out performance had audience enthusiasm in spades. . . . Soprano Catherine Kelly's singing . . . was admirable in its fearlessness and refusal to hold back. . . . Lovely, slim Maria Ferrante sang the slave girl Liu . . . with warm tones, delicate high notes, and emotional urgency. . . . She moves like a dancer. . . . Chorus pro Musica is in good shape. . . . The orchestra was strong . . . and the first act finale built to a stunning climax. . . . This was a juicy occasion for a very thirsty public."    Lloyd Schwartz, The Boston Phoenix