Supreme Vocalism.

Even more than most, this is a piece that lives or dies with its performer, and Sunday's singer, soprano Suzan Hanson, brought Poulenc's score irresistibly to life.

Her singing was fresh and forceful, with pointed rhythmic clarity in the score's talky stretches (which is most of it) and blazing dramatic fervor in the few bursts of connected phrasing. And together with director Layna Chianakas, she kept the level of emotional volatility well judged, providing a study in turmoil without turning the piece into a full-blown mad scene.

Joshua Kosman - San Francisco Chronicle