"International comments on The Visit"
"Her gorgeously evocative sound (is) a distinctive richly-textured fusión of ancient Celtic music and contemporary elements."— Lynne Van Matre, Chicago Tribune, June 18, 1992.
"Wow! This is one of those rare occasions when I am virtually left speechless. I just finished listening to The Visit, and I am in awe. What an álbum. What an artist."— Beth Lewis, The MAC Report, West Hills, Calif., April 24, 1992.
"Loreena is a truly magical harpist, vocalist, and songwriter who is tremendously popular in Canadá, where The Visit has gone platinum. The record has a Celtic feel with classical overtones, accompanied by her misty, soaring vocals...a time of discovery in which new places, people, and ideas are uncovered."— Eric Kueckels, WNKU Radio Listeners' Guide, Cincinnati, June, 1992.
"Sublimely beautiful...a musician who knows how to be modern, but keeps her acquired traditional roots intact."— Revue, Western Australia, Mar. 1992.
"A découvrir!" — Manon Guilbert, Journal de Montreal Nov. 2, 1991.
"McKennitt is passionate but never precious about her craft...her rich, textured voice wraps itself around words in a seductive fashion that, on occasion, is almost indecent. She is her own artist, brave enough to explore and transcend boundaries without losing sight of the heritage and traditions which made her embark on her journey in the first place."— Stuart Clark, Hot Press, Ireland, June 1992.
"The Visit is an álbum of exquisite beauty and depth...she exudes a sense of authenticity and clarity of visión that cuts through musical and cultural boundaries."— Linda Kohanov, New Age Journal U.S., July/August 1992.
"A stunning álbum—heart-rending beauty performed utterly without flaw, musically perfect in every way." — Neil Randall, Kitchener-Waterloo Record, Oct. 24, 1991.
"McKennitt's music has a wrap-around feel—haunting, evocative, and very pretty."— Time-Off, Sydney, Australia, March 1992.
"The lilting cadenee of harpist Loreena McKennitt's voice suggests that her songs have been seized by the wind and danced over the moors. She redeems the harp's comy image and makes her brand of Gothic folk music not just palatable but delicious. Raüng: A." — K.Z., Calgary Herald, Oct.10,1991.
"McKennitt will do for Irish-flavoured music what Hany Connick Jr. did for big band music: resurrect and own the genre. She could be the most ex-citing discovery youVe made in ages." — Hamüton Spectator, Oct. 6, 1991.
"She possesses a sharp eye for good material (her own and traditional) and a voice that makes mincemeat out of many of her contemporaries. Here, harps, synthsizers, pipes, electric guitars, fiddles and tambouras are shoehorned into the same songs and made to dance, undiluted, to a traditional tune...There's nerve aplenty, harp playing approaching Stivell levéis of skill, modern arrangements, and (her) towering voice. It could be the folk álbum of the year."— Rob Beattie, Q Magazine, U.K., July 1992.
"Vous aimez Clannad, vous aimez Enya, nul doute que vous aimerez aussi Loreena McKennitt. Ces artistes proviennent tous du méme moule: mystique, fascinant, presque surnaturel! C'est différent, reposant et envoülent."— Le Canadá Franeáis, St-Jean, Que. May 13, 1992.
Through the course of her albums, she has teamed up with some fantastic writers, including W.B. Yeats, William Blake, William Shakespeare, and Lord Tennyson...Well, 1'm only part-joking. She has taken the poetry of these people and set it to music. On the new álbum, she does an epic versión of The Lady of Shalott, as well as an interpretation of Cymbeline. Such interpretations, where others might fail hideously, come off naturally in her hands." — Student Newspaper, University of Brandon, Nov.14, 1991.
"Pristine vocal delivery and harp presented with earthy Celtic flair should make The Visii an appealing reléase...suitably romantic, steeped in mist and haunting history...a deeply evocative trip to another time." — Michael Becker, Vancouver JVoríh Shore News, Oct. 16, 1991.
"Sur scéne, Loreena McKennitt nout fait pénétrer tranquillement dans son univers...Tantót a la harpe tantót au piano, toute de noir vétue. McKennitt méne le bal avec sérénité. Le charme de la barde á la chevelure de feu opere lentement mais sürement."— Michel Bilodeau, Le Soleil Québec, April 12, 1992.