|
Opera News, Arol
Mckinnon
(Rachele, Il Caso Mortara,
Dicapo Opera)
"Of the secondly characters, two were outstanding -
Christina Rohm, as Edgardo's sister Rachele
. . . "
Wall Street Journal,
Heidi Wales
(Harriet Mosher, Emmeline,
Dicapo Opera)
"Christina Rohm was fierce as her sister Harriet".
Brooklyn Daily Eagle, Nino
Pantano
(Cio
Cio San, Madama Butterfly,
Regina Opera)
"Cio-Cio San was
brilliantly sung by
soprano Christina Rohm. Rohm’s entrance aria “Ancora Una Passo or Via”
caught
our ears with its shimmering pure sound. Her ardent vocalism in “Bimba
Dagli
Occhi” her love duet with Pinkerton, was thrilling . . . During Rohm’s
powerful, passionate singing of the popular “Un Bel Di” in the second
act, her
voice soared to the heavens. . . Rohm’s poignant outpourings had many
reaching
for the Kleenex. Her final aria “Tu, Tu Piccolo Iddio” sung to her
child,
“Sorrow”, just before her suicide, was riveting".
Brooklyn Daily Eagle; OPERA-L, Nino
Pantano
(Floria
Tosca, Tosca, Regina Opera)
"In the title role, Christina Rohm was a riveting Tosca. Rohm's soprano
voice is a lovely instrument, with a darkish hue, flexibility and a
tremendous
amount of power. When she shifts vocal gears, from fiery jealous
outbursts to
vulnerability, her vocal line is seamless. Her confrontations with the
evil
Baron Scarpia were bone chilling and her portrayal breathed both ice
and fire.
Her renditions of the aria 'Vissi D’arte' was among the most dramatic
and
poignant in memory".
Brooklyn Daily Eagle,
Nino Pantano
(Giulietta, Les Contes d'Hoffman,
Regina Opera)
"Rohm was a sensual, honey-voiced and thrilling Giulietta".
"The Opera Insider, Meche Kroop
(Giulietta, Les Contes d'Hoffman,
Regina Opera)
"Christina Rohm did full justice to the courtesan Giulietta".
SuperConductor, Paul
Pelkonen
(Giulietta, Les Contes d'Hoffman,
Regina Opera)
"Christina Rohm was a sultry Giulietta, with a rich instrument".
Forum Opera.com,
Giulio D’Alessio
(Rachele, Il Caso Mortara,
Dicapo Opera)
"Parmi les personnages secondaires, il faut signaler la Rachel de
Christina Rohm, artiste à l’instrument
solide et convaincant à laquelle s’ajoute une grande
expansivité musicale et
une présence scénique
mesurée et élégante ; qualité
affirmée principalement dans le bel interlude du
second acte, libre adaptation du Cantique des Cantiques."
"Among the secondary characters, a standout was the performance of
Rachele
by Christina Rohm,
an artist whose solid instrument convincingly added a great musical
expansivity
and a measured and
elegant stage presence; this was especially true of the beautiful
interlude of
the second act, a free
setting of the Song of Songs".
SuperConductor, Paul
Pelkonen
(Rachele, Il Caso Mortara, Dicapo
Opera)
"Also impressive was Christina Rohm as Rachele . . ."
Blogcritics.org,
Dan Boone
(Rachele, Il Caso Mortara,
Dicapo Opera)
"Soprano Christina Rohm was a delight as the Jewish girl, Rachele, and
possesses
a rather lovely voice".
Operaticus, Whitney Scott
(Harriet Mosher, Emmeline,
Dicapo Opera)
"Christina Rohm as Harriet Mosher sang with clear tone and brilliance
in
the top".
Gay City News, Eli
Jacobson
(Cio Cio San, Madama Butterfly,
Bleecker Street Opera)
"Christina Rohm was a vocally strong Butterfly with a tireless upper
register".
OPERA-L, Nino Pantano
(Opera Gala Concert, Gateway Classical Music Society)
"Christina Rohm as Cio Cio San . . . gave the audience a visceral
thrill
with (her) lush and powerful singing . . . Christina Rohm sang with
rapture".
Brooklyn
Daily Eagle, Nino Pantano
(Marguerite, Faust, Regina
Opera)
"Christina Rohm was a splendid Marguerite whose luscious soprano was
sparkling in her “Jewel Song” and was radiant in her “Eternelle” love
duet . .
. Rohm’s touching acting and magnificent singing were great highlights
of this
performance. Rohm’s singing in the final act . . . was indescribable in
its
impact, beseechingly powerful, yet humbling and heartfelt".
Times Herald-Record, James Cotter
(Cio Cio San, Madama Butterfly,
Opera Company of the Highlands)
"Cio Cio San was sung by soprano Christina Rohm. She perfectly captured
the romance of the geisha . . . Rohm sang the hopeful aria "Un bel
di" about the day of her lover's promised return with exquisite
conviction
and emotion, which she sustained to the tragic undoing of all her
dreams in the
final act".
Westfield Leader /Fanwood Times, Carolyn Freundlich
(Hannah Galawari, The Merry Widow,
Pineda Lyric Opera)
"The characters enacted the plot with vigor . . and perfect vocal
inflections,
making it a hilarious hit . . .all of whose voices were fantastic.
Christina
Rohm, playing the Merry Widow, showed off a strong soprano voice that
could
reach extremely high pitches".
Opera, Erik Meyers
(Claudia, Claudia Legare,
Dicapo Opera)
“Christina Rohm . . . was the Claudia. Her large-scale soprano
showed
promise”.
Ibsen News and Comment: The Journal of the Ibsen Society of America,
Vol. 25,
Joan Templeton, Editor
(Claudia, Claudia Legare,
Dicapo Opera)
"Christina Rohm . . . was in fine voice . . . The Dicapo Opera Theatre
(has) performed a great service in bringing Claudia Legare back to life
and
deserve to be congratulated".
St. John’s Webnews, Vol. 1 No. 25, Joseph Jordan
(Nedda, Pagliacci, Riverside
Opera)
"Pagliacci brought together a splendid combination of singers and
musicians for the audience's delight. Soprano Christina Rohm (Nedda)
and (the
other singers) all demonstrated superb chemistry with each other and
the
orchestra".
Cape Cod News, John R. Murelle
(Soloist, Verismo Opera
Scenes/Pagliacci, National Lyric Opera)
"The first half of the program was a concert of arias, duets and
ensembles
from rarely performed verismo masterpieces . . . The soloists
(including)
soprano, Christina Rohm, are all fine singers".
|
