"Of the two singers, Whyte had the more impressive and reliable instrument. The voice is large and brilliant, edging into dramatic coloratura territory with a full, expressive vibrato, excellent extension above high C, tightly handled runs, and a smoldering, sensual chest register. Whyte certainly set off all the requisite Verdian fireworks in Sempre Libera (Traviata) and Caro Nome (Rigoletto) and her Chi bel sogno from Puccini’s La Rondine offered luscious lines and exquisitely floated high notes." -ArtsFile
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