Schumann then took the stage again, this time as accompanist to vocalist Mela Dailey for the world premiere of Dan Welcher's "Four Personal Ads." Commissioned by Peter Bay, Austin Symphony Orchestra maestro and Dailey's husband, the songs were set to real-life personal ads, reworked as sonnets by poet Beth Gillis. With their titles, "Luscious Latina," "The Queen," "Rubenesque," and "You Smell of Money," as well as Welcher's humorous popular references in the music, the pieces certainly entertained. Layered with Gillis' fine work and Welcher's inimitably rich and lyrical composition style, each song transcended the playful nature of its subject matter. In the finest moments, as when the Luscious Latina confides that, "at 26, I've lost too much," for a short moment the mask is ripped off to show vulnerability at the heart of any search for love. Dailey, in a fiery red dress, enchanted. Her soaring soprano nailed the nuances of each character as she strode through the audience. Balancing the dual roles of musician and actor is a fine art, one that Dailey handled with great assurance.

...Soprano Dailey, tenor Cameron and bass/baritone Robinson gave magical performances - particularly the stunning Dailey with a voice that sounds like it's coated in Christmastime silver and gold. Dailey dazzled with the famous "Laughing Song" from Johann Strauss Jr.'s comic opera "Die Fledermaus," or "The Bat." She turned in such a joyful performance. But her coup d'etat of the evening had to be "Vilja's Song," a lush, romantic aria from Franz Lehar's "The Merry Widow." She takes the audience with her on this quixotic journey that reaches the height of heights when she hits that elusive high note. She continued that journey with Cameron for "Lippen schweigen," also from "The Merry Widow." Dailey has such a wonderful timbre to her voice, such a great quality...

...She possesses a lovely, bright, lyric voice which she uses intelligently and in a most musical way. Mela has a communicative gift as well which allows her to touch her audience quite directly. Whether in staged opera, lieder, popular ballads or sacred music, Mela finds just the right style to bring life and beauty to the music at hand...

From the moment Mela Dailey walks on stage you sense you are going to hear great music making. As she begins to sing, you become lost in the beauty of her voice. She seems to effortlessly sculpt every note to be in perfect alignment with her expression. Her tone can be clear and warm at the same time. She combines her remarkable musicianship with a naturalness of movement that has you believing the stage is where she lives. No matter how many times you have heard the music, it is as though you are experiencing it for the first time. No matter how trivial or superficial the plot, you believe it.

...Mela Dailey as tempestuous good-time girl Musetta, who blasts on stage like a Hollywood diva and sings the hell out of her famous "Waltz."

...Soprano Mela Dailey grabbed the spotlight as Musetta, the periodically flirtatious girlfriend of Marcello. Her singing was bright and vivacious...her taunting of Marcello in the face of an old beau was very funny.

...Soprano Mela Dailey had both power and beauty for her solo in Richard Jackson's "Rock My Soul."

...For such an accomplished gathering of excellent singers, the individual selections were an uneven mix. Among the best of these was Mela Dailey's "When William at Eve," by William Shield….which showed off both the singer's fine voice and playful exuberance.