Bruckner: Te Deum (Houston Symphony)
"Soprano Lindsay Russell sang with a gorgeous tone."
- Lawrence Wheeler, Texas Classical Review
Les Pechêurs des Perles (Opera in the Heights)
"Russell... rode through Bizet's ornate vocal ornaments without any strain or fuss. Her silvery voice is powerful, commanding, and lithe."
- D.L. Groover, Houston Press
After the Storm (HGOco)
"Soprano Lindsay Russell sounded the clarion call of the storm. She was the siren of alarm piercing through the layers of composition and the seductive siren of the sea. In spite of such magnitude, she blended seamlessly when necessary."
- Joseph Campana, Houston Chronicle
Die Fledermaus (Nashville Opera)
"And Hoomes’s stage is full of actors with wonderful voices. Soprano Lindsay Russell as Adele is downright hilarious as the rambunctiously cheeky maidservant. Her enchanting “Laughing Aria” brought out the light, authentic and effortless character of her instrument."
- Joseph E. Morgan, Nashvillearts.com
La Rondine (Skylark Opera)
"We soon learn that his amour is Magda's maid, a role Russell delivers with comic panache and a sweet, smooth soprano voice."
- Rob Hubbard, Pioneer Press
Il Barbiere di Siviglia (Syracuse Opera)
"Soprano Lindsay Russell shined as the coquettish Rosina. Her light high soprano soared effortlessly throughout the opera, especially in her act two aria..."
- Abel Searor, Syracuse.com
Die Zauberflöte (Arizona Opera)
"Lindsay Russell plays the Queen of the Night, and she is a diva divine, delivering her famously, fiendishly difficult coloratura aria with such natural ease that you might wish we still lived in the days when they would halt the performance for an encore or two."
- Kerry Lengel, The Republic
Postcard from Morocco (Portland Opera)
Soprano Lindsay Russell and baritone Deac Guidi, both making their Portland Opera debuts, rounded out the ensemble cast as Lady with a Hand Mirror and Man with a Cornet Case with strong, well-sung performances. Russell, a coloratura soprano, produced an easy sound and clear diction (no easy feat) in a relentlessly fiendishly high tessitura.
- Katie Taylor, Oregon Arts Watch
Die Zauberflöte (Roanoke Opera)
"Lindsay Russell, as the Queen of the Night, gamely donned a male costume, but sang with the appropriate force and range, including the famous high Fs, dispatching them with pin-point accuracy."
- TImothy Gaylard, Washington and Lee blog
Apprentice Showcase (Santa Fe Opera)
"We were thrilled to learn that the Bell Song from Delibes' Lakme would be on the program. Lindsay Russell did not disappoint; she handled the elaborate vocal line with complete assurance."
- Meche Kroop, Voce di Meche
A Blizzard on Marblehead Neck (Glimmerglass Festival)
"Patricia Schuman and David Pittsinger go at it vigorously as the O’Neills, and Lindsay Russell sings the Young Woman with an alluring soprano."
- George Loomis, Financial Times
Carmen (Glimmerglass Festival)
“Soprano Lindsay Russell and mezzo-soprano Cynthia Hanna, as Frasquita and Mercedes, respectively, brightened the stage immeasurably... Their delightful third-act duet... brought smiles across the faces of the listeners.”
- David Abrams, Musical Criticism
The Tender Land (Glimmerglass Festival)
“Lindsay Russell was a radiant Laurie, with soaring high notes and an authentic, quivering innocence that was utterly disarming.”
- Joanne Sydney Lessner, Opera News
“As Laurie, a teenager who yearns to experience the wider world beyond her grandfather’s farm, Lindsay Russell sang with gracious tone and ample volume, soaring over the rich strains of Copland’s original full orchestration.”
- Steve Smith, New York Times
“With a radiant upper register and 5000-watt smile, Russell is irresistible.”
- Brenda Tremblay, Rochester City Newspaper
“Soprano Lindsay Russell... projected an inner radiance and sense of wonder at her world and the future awaiting her. Attractive to hear and see, one always heard in her voice and expression the yearning and longing for what the rites of passage had to offer. Ms. Russell’s voice was warm, beautiful, and expressively pliant.”
- Seth Lachterman, Berkshire Review
“As the lead character Laurie, soprano Lindsay Russell sang beautifully and negotiated the emotional turns... In three short acts, she goes from being a moody schoolgirl to a jilted woman ready to face the world on her own.”
- Joseph Dalton, The Times Union
“Soprano Lindsay Russell ably balanced the lyric and dramatic vocal challenges of Laurie's music.”
- Heidi Waleston, Wall Street Journal
“In the lead role of Laurie Moss soprano Lindsay Russell sang her heart out. Over just a few hours in her life, she progresses from a quiet and mildly rebellious home-bound student to an assured young woman ready to go away on her own. As she grows, her music grows-her uncomplicated song of introduction at the beginning is a far cry from the heartrending outpouring of despair at the end. Her voice was clear, true, and focused. The role requires maturity and subtle acting, and she carried it off beautifully.”
- Jane Dieckmann, Ithaca Times
“...it was quite a moving evening, thanks to wonderful, unaffected portrayals of the leading character (Laurie Moss, a farm girl about to graduate from high school) by Lindsay Russell. [She] combined eloquent simplicity with [a] healthy, individual sound.”
- David Shengold, The Boston Musical Intelligencer
“The Tender Land is Laurie’s journey of course, and who wouldn’t want to to make the trip with immensely gifted young soprano Lindsay Russell. Ms. Russell has all the goods for this deceptively simple role. She has the ‘heart’ in her ample lyric voice for the simple longings of “The World So Wide,” to be sure. But she also has the ‘ping’ and the moxie for the determined pronouncements in the opera’s climactic scena. Her instrument is uniform throughout, her musicianship is natural and clean, and her technique easily accommodates the often angular Copland writing. If she does not yet float a pianissimo quite as effortlessly as Dawn or Renee, rest assured, she will. Lindsay Russell is poised on the fast track to the major league.”
-James Sohre, Opera Today
"Soprano Lindsay Russell sang with a gorgeous tone."
- Lawrence Wheeler, Texas Classical Review
Les Pechêurs des Perles (Opera in the Heights)
"Russell... rode through Bizet's ornate vocal ornaments without any strain or fuss. Her silvery voice is powerful, commanding, and lithe."
- D.L. Groover, Houston Press
After the Storm (HGOco)
"Soprano Lindsay Russell sounded the clarion call of the storm. She was the siren of alarm piercing through the layers of composition and the seductive siren of the sea. In spite of such magnitude, she blended seamlessly when necessary."
- Joseph Campana, Houston Chronicle
Die Fledermaus (Nashville Opera)
"And Hoomes’s stage is full of actors with wonderful voices. Soprano Lindsay Russell as Adele is downright hilarious as the rambunctiously cheeky maidservant. Her enchanting “Laughing Aria” brought out the light, authentic and effortless character of her instrument."
- Joseph E. Morgan, Nashvillearts.com
La Rondine (Skylark Opera)
"We soon learn that his amour is Magda's maid, a role Russell delivers with comic panache and a sweet, smooth soprano voice."
- Rob Hubbard, Pioneer Press
Il Barbiere di Siviglia (Syracuse Opera)
"Soprano Lindsay Russell shined as the coquettish Rosina. Her light high soprano soared effortlessly throughout the opera, especially in her act two aria..."
- Abel Searor, Syracuse.com
Die Zauberflöte (Arizona Opera)
"Lindsay Russell plays the Queen of the Night, and she is a diva divine, delivering her famously, fiendishly difficult coloratura aria with such natural ease that you might wish we still lived in the days when they would halt the performance for an encore or two."
- Kerry Lengel, The Republic
Postcard from Morocco (Portland Opera)
Soprano Lindsay Russell and baritone Deac Guidi, both making their Portland Opera debuts, rounded out the ensemble cast as Lady with a Hand Mirror and Man with a Cornet Case with strong, well-sung performances. Russell, a coloratura soprano, produced an easy sound and clear diction (no easy feat) in a relentlessly fiendishly high tessitura.
- Katie Taylor, Oregon Arts Watch
Die Zauberflöte (Roanoke Opera)
"Lindsay Russell, as the Queen of the Night, gamely donned a male costume, but sang with the appropriate force and range, including the famous high Fs, dispatching them with pin-point accuracy."
- TImothy Gaylard, Washington and Lee blog
Apprentice Showcase (Santa Fe Opera)
"We were thrilled to learn that the Bell Song from Delibes' Lakme would be on the program. Lindsay Russell did not disappoint; she handled the elaborate vocal line with complete assurance."
- Meche Kroop, Voce di Meche
A Blizzard on Marblehead Neck (Glimmerglass Festival)
"Patricia Schuman and David Pittsinger go at it vigorously as the O’Neills, and Lindsay Russell sings the Young Woman with an alluring soprano."
- George Loomis, Financial Times
Carmen (Glimmerglass Festival)
“Soprano Lindsay Russell and mezzo-soprano Cynthia Hanna, as Frasquita and Mercedes, respectively, brightened the stage immeasurably... Their delightful third-act duet... brought smiles across the faces of the listeners.”
- David Abrams, Musical Criticism
The Tender Land (Glimmerglass Festival)
“Lindsay Russell was a radiant Laurie, with soaring high notes and an authentic, quivering innocence that was utterly disarming.”
- Joanne Sydney Lessner, Opera News
“As Laurie, a teenager who yearns to experience the wider world beyond her grandfather’s farm, Lindsay Russell sang with gracious tone and ample volume, soaring over the rich strains of Copland’s original full orchestration.”
- Steve Smith, New York Times
“With a radiant upper register and 5000-watt smile, Russell is irresistible.”
- Brenda Tremblay, Rochester City Newspaper
“Soprano Lindsay Russell... projected an inner radiance and sense of wonder at her world and the future awaiting her. Attractive to hear and see, one always heard in her voice and expression the yearning and longing for what the rites of passage had to offer. Ms. Russell’s voice was warm, beautiful, and expressively pliant.”
- Seth Lachterman, Berkshire Review
“As the lead character Laurie, soprano Lindsay Russell sang beautifully and negotiated the emotional turns... In three short acts, she goes from being a moody schoolgirl to a jilted woman ready to face the world on her own.”
- Joseph Dalton, The Times Union
“Soprano Lindsay Russell ably balanced the lyric and dramatic vocal challenges of Laurie's music.”
- Heidi Waleston, Wall Street Journal
“In the lead role of Laurie Moss soprano Lindsay Russell sang her heart out. Over just a few hours in her life, she progresses from a quiet and mildly rebellious home-bound student to an assured young woman ready to go away on her own. As she grows, her music grows-her uncomplicated song of introduction at the beginning is a far cry from the heartrending outpouring of despair at the end. Her voice was clear, true, and focused. The role requires maturity and subtle acting, and she carried it off beautifully.”
- Jane Dieckmann, Ithaca Times
“...it was quite a moving evening, thanks to wonderful, unaffected portrayals of the leading character (Laurie Moss, a farm girl about to graduate from high school) by Lindsay Russell. [She] combined eloquent simplicity with [a] healthy, individual sound.”
- David Shengold, The Boston Musical Intelligencer
“The Tender Land is Laurie’s journey of course, and who wouldn’t want to to make the trip with immensely gifted young soprano Lindsay Russell. Ms. Russell has all the goods for this deceptively simple role. She has the ‘heart’ in her ample lyric voice for the simple longings of “The World So Wide,” to be sure. But she also has the ‘ping’ and the moxie for the determined pronouncements in the opera’s climactic scena. Her instrument is uniform throughout, her musicianship is natural and clean, and her technique easily accommodates the often angular Copland writing. If she does not yet float a pianissimo quite as effortlessly as Dawn or Renee, rest assured, she will. Lindsay Russell is poised on the fast track to the major league.”
-James Sohre, Opera Today
