"The delightful Susanne Mentzer was Grandmother Buryjovka, the retired mill owner who occasionally hit the offending not-so-gentle man with her purse." -Broadway World Read full review.

"Where the production excelled vocally was in its veterans. Victoria Livengood, the American mezzo, was fabulous as the old nurse" -The Washington Post Read full review. "... mezzo-soprano Victoria Livengood who played Tatiana’s nurse were both pleasures; Ms. Livengood especially stood out." -Operagene.com Read full review.

"Victoria Livengood as Old Lady, a put-upon woman of the world who nudges Cunegonde and Candide through their foibles with risible wisdom. Both actors serve as oracle characters, offering a candid and realistic view of the nature of the world with perfectly performed comedy." -Front Row Reviewers Utah Read full review. "Among the other cast members, baritone Mark Diamond as Maximilian, soprano Aleks Romano as Paquette and mezzo-soprano Victoria Livengood as the Old Lady deserve special mention for their performances. Livengood was especially wonderful as she pranced about trying to woo men with her elderly “charms.”" -Utah Arts Review Read full review.

"As Rochester’s matrimonially minded friend Blanche Ingram, soprano Katrina Thurman was appropriately highhanded and domineering." -Opera News Read full review.

"Quebec-born soprano Marie-Eve Munger was a winning Gilda; her account of the role embraced both the girlish charm of the first act—“Caro nome” was captivating—and the passionate self-sacrifice (however misguided) of the last. Her coloratura was as expressive as it was secure; her otherworldly singing in the final scene held the audience rapt. This is an artist to reckon with." -Opera News Read full review.

"Best of all was the Godmother of Marie-Eve Munger, whose pinpoint coloratura and saucy characterization bewitched the audience in her every appearance—the woman knows how to flaunt a platinum punk “do” and glitter polish." -Opera News Read full review. "No character is more central to conjuring the opera’s wizardry and wonder than the Fairy Godmother, and coloratura soprano Marie-Eve Munger, in her Lyric debut, did just that through vocal gymnastics and saucy body movement. The pyrotechnics of Munger’s singing established the Fairy Godmother’s supernatural powers, while the way she sashayed across the stage – waving that light-tipped wand as if it made the world go ’round – explained why everyone did precisely as the Fairy Godmother instructed." -Chicago Tribune Read full review. "Cendrillon's (Siobhan Stagg) sweet voice will hold everyone's attention, while the best performances come from the gorgeous fairy godmother (Marie-Eve Munger) and the wicked stepmother (Elizabeth Bishop)." -Chicago Parent Read full review.

“Arizona Lady” had all the bells and whistles of more standard repertoire: Terrific vocal performances from leading lady soprano ANGELA FOUT. . . ” -Arizona Daily Star Read full review.

"As Leporello, bass-baritone Joseph Barron was an audience favorite, offering a portrayal as humorous as it was richly sung. It is a shame that his aria “Ah pietà signori miei” was omitted. Missing also was “Dalla sua pace”, another artistic miscalculation as tenor Tyler Nelson was a sweet-voiced Don Ottavio, and would have scored in that aria, as he certainly did with an excellent “Il mio tesoro.” . . . Mezzo-soprano Audrey Babcock, the unrelenting Donna Elvira, strode across the stage with a fierce determination. Vocally, “Mi tradi” held no terrors for her, as she navigated this difficult music with aplomb. Angela Fout . . . conveyed a noble stage presence" -Opera News Read full review.

"As Figaro, bass-baritone Calvin Griffin delivered a performance that could have been on any opera stage in the world. He sang with a sturdy and even sound from the top to the bottom of his voice and brought colorful diction and easy freedom to the part. . . Susannah Biller has a thick, regal sound well-suited to Countess Almaviva; her third act aria of romantic neglect, “Dove sono,” showed beautiful, legato singing." -Shepherd Express Read full review. “Susannah Biller combines a pure, ringing sound with some serious agility, while creating a believable Countess Almaviva.” - Elaine Schmidt JSOnline Read full review.

‘“Florida” certainly had strong moments, not least Florida herself: Sharin Apostolou was terrific playing a curious, vibrant teenager with a vivid and seemingly tireless soprano voice. . . Eng’s lyrical and often dramatic music, energetically led by UrbanArias’s founder, Robert Wood” -Anne Midgette, Washington Post Read full review. "In “There’s a Scream Inside Me” Apostolou beautifully shifts between the confusion, curiosity, and outright hunger battling within Florida and sets the stage for a musically flawless performance the entire evening. . . This constant flow of movement was highlighted by Abigail Hoke-Brady’s dramatic lighting design and the fantastic Inscape Chamber Orchestra under the baton of Robert Wood.” -DC Metro Theater Arts Read full review.

"Alfonso, even as he intends to show the weakness of women, could not pull off his ridiculous shenanigans without one. He pays for the support of the sisters’ housemaid, played with hilarious stage presence by Sharin Apostolou. A versatile performer, she won acclaim last season as Jenny in “Three Penny Opera,” and she returns with another solid performance as Despina" -Syracuse.com Read full review.

". . . It’s clearly a difficult score to sing, which makes this production’s performances all the more impressive. Catherine Martin has a clear, powerful mezzo-soprano voice and offered a disarmingly natural characterization as Sister Helen. . . But the standout performance is that of bass-baritone Seth Carico as the condemned man, Joseph De Rocher. This might be the most physically and emotionally demanding role that I’ve ever encountered in an opera, and Carico’s commitment to the character is awe-inspiring. He basically takes the opera upon his shoulders for the harrowing final half-hour and makes it an experience of profound sadness." -TwinCities.com Read full review. "It's hard to imagine a stronger or more dramatically apt cast. A resonant baritone, Seth Carico made Joe a fierce, gritty, ultimately vulnerable and frightened character. Carico's "Warm Night" aria hit just the right tone of sensuality. Catherine Martin's Sister Helen displays a similar kaleidoscope of emotions in a thoroughly convincing and beautifully sung performance.They make it clear that a kind of love develops between their characters, and their love is the spine of the story. . . There were moments of truly impressive singing on opening night from Karen Slack (Sister Rose)" -Minneapolis Star Tribune Read full review. "In a superb and soulful lead portrayal as the Roman Catholic nun who became a symbol for the movement against capital punishment, mezzo-soprano Catherine Martin reaches deep within to find the inner space where one must enter to forgive the unforgivable. She is also the audience’s mystic guide. . . Seth Carico is a veritable earthquake in human form in his portrayal of the obsinate Joseph. This is an unhinged man steeped in denial, who resists and writhes against any acknowledgement of his diabolical deed. Carico renders one of the most visceral performances you will ever seen in an opera. He might put you on the edge of your seat. . . Karen Slack is wondrously endearing as Sister Helen’s supportive friend, Sister Rose." - Lavender Magazine Read full review.