"The emotions in her Schoenberg were intense." - Chamber Music Recital with the Brentano Quartet at Coleman Chamber Music Association, LA TIMES, May 1, 2018

"She can float a beautiful high note, but the singing that was called for her was a straightforward, almost childlike sound, and that’s what she delivered: a voice free of operatic allures, sometimes sounding taxed and a little frayed by the demands of the music." - Recital with Gil Kalish and Sō Percussion at Fortas Chamber Music Concerts, THE WASHINGTON POST, April 6, 2018

"Upshaw's instrument has grown in rounded impact and timbral darkness; she was able to project the piece's lower notes without forcing. Her attack remains true..." - Recital with the Brentano String Quartet at 92nd Street Y, OPERA NEWS, December 3, 2017

"While the demands that Winds of Destiny placed on the whole ensemble seemed staggering, Upshaw rightly stood center stage. The subtleties of her inimitable interpretation are difficult to describe or to generalize. Hollow and plaintive — amplified yet deliberately restrained — her voice sounded like swallowed pain thrown under a microscope." - American Songbook IV by George Crumb with Sö Percussion, SAN FRANCISCO CLASSICAL VOICE, October 31, 2017

"Upshaw’s singing was nimbly tailored to these different worlds, bringing fluidity and grace to Shaw’s music and an explosive vitality to Crumb’s." - American Songbook IV by George Crumb with Sö Percussion, SAN FRANCISCO CHRONICLE, October 27, 2017

"Upshaw’s voice sailed at climactic sections and hid exquisitely at more intimate moments, all the while poised over the orchestra’s sensitive colorations." - Johann Strauss, Osvaldo Golijov and Mahler with the Columbus Symphony, THE COLUMBUS DISPATCH, April 16, 2016

“Ms. Upshaw has been an energetic champion of contemporary and American composers; her lively rendition of a set of cabaret songs by William Bolcom proved a highlight of the afternoon. She brought a wry charm to his “Song of Black Max,” and a jovial sensibility to the quirky “Toothbrush Time.” She infused the mellow “Waitin’ ” with a poignant intimacy.“   - Recital w/ Gil Kalish at the Town Hall in NYC, THE NEW YORK TIMES, March 30, 2015

“Dawn Upshaw displayed effortless musicianship and narrative magic Sunday with a substantial program... The emotional range of sweetness, longing, and agony gave Upshaw the latitude to soar and summon considerable power and intensity.“   - Recital w/ Gil Kalish, SANTA BARBARA INDEPENDENT, February 22, 2015

“... Sung by the artist in rich and full voice. Folk tunes by Béla Bartók and William Bolcom brought Upshaw‘s delightfully laid back recital to a whimsical close.“   - Ives, Bolcom, Bartok and Schubert w/ Gilbert Kalish, CASA MAGAZINE, February 15, 2015

“Upshaw’s radiant vocalism and emotional delivery were riveting. Her tonal luster and pristine musicianship continue to mark her as an artist of exceptional gifts.“   - Maria Schneider‘s Winter Morning Walks at Festival Miami, SOUTH FLORIDA CLASSICAL REVIEW, October 26, 2014

“Nobody is better equipped for this music than soprano Upshaw and pianist Kalish. Upshaw‘s specifically American way of projecting the English language is all but essential, but even more gratifying was her willingness to go where the music takes her, never keeping an objective distance.“   - Recital w/ Gilbert Walsh at PCMS, THE PHILADELPHIA INQUIRER, October 24, 2014

“You couldn‘t tear your eyes away from Upshaw‘s presentation, as she inhabited the moods and characters of these poetic texts, and she connected to listeners all the way to the last row... She was an involved storyteller, gesturing operatically to convey each tale. She brought meaning to each word of text.“   - Recital w/ Gilbert Walsh at University of Cincinnati, CINCINNATI ENQUIRER, September 24, 2014

“Her voice has gained a subtle, darker tone that she can use in the low and middle registers, and the unique way she places it in the back of her throat is effective in intimate settings, like the Harvey. Her inherent naturalism makes her an ideal Ives singer.“   - Recital w/ Gilbert Walsh at BAM, NEW YORK CLASSICAL REVIEW, September 12, 2014

“Of course soprano Dawn Upshaw is the main focus of the nine pieces, settings of austere poems by Pulitzer-winning poet Ted Kooser... Her diction and interpretive flair made the most of these lovely and quite moving songs.“   - Maria Schneider‘s Winter Morning Walks w/ the Knights at Ravinia, CHICAGO CLASSICAL REVIEW, August 21, 2014

“Upshaw was in excellent voice, and brought a humility as well as strength to these simple poems, with understated conviction. There were some wonderful moments between her and Robinson.“   - Maria Schneider‘s Winter Morning Walks w/ the Knights at Tanglewood, TIMES UNION, July 24, 2014

“Ms. Upshaw displayed the clarity and purity of tone for which she is famous in Solveig‘s Song from Grieg‘s incidental music to Peer Gynt... The vocal line is specifically tailored to Upshaw‘s remarkable ability to maintain a legato through all the registers of her voice. As ever, her secure singing technique served merely a starting point for a thorough and detailed interpretation of the text.“   - Tour with the Australian Chamber Orchestra, LIMELIGHT MAGAZINE, February 9, 2014

“Her sprightly sound and the chamber forces were ideal for the playfulness of Mahler’s settings.“   - Jaeger Song Cycle‘s World Premiere w/ St Paul Chamber Orchestra, STAR TRIBUNE, October 28, 2013

“...Her artistry was almost always impeccable...“   - Jaeger Song Cycle‘s World Premiere w/ St. Paul Chamber Orchestra, PIONEER PRESS, October 26, 2013