American Lyric-Spinto Soprano, Karen Anderson

Soprano Karen Anderson delivered a strong, poised, polished, suitably dramatic and powerfully well-sung vocal performance. The high notes were pure and true ….making the varying emotions felt as well as dealing with the floridity and the high notes.
William Glackin, Sacramento Bee

Anderson brought pure, lustrous tone to the dreamlike “Aria (Cantilena)” that begins the piece……the second movement, “Danza” which evokes the music of songbirds and nature, was richly atmospheric.
Georgia Rowe, Contra Costa Times

Anderson’s voice was an ideal choice for the material. She gave each song a performance as natural, unforced and deeply meditative as it was technically brilliant. Anderson shaped the long, complex phrases into glorious musical statements.
Georgia Rowe, Contra Costa Times

Soprano Karen Anderson with her beautiful, warmly colored soprano, enhanced by her fine dramatic sense, created a sympathetic and eloquent Suor Angelica.

Cheryl North, Oakland Tribune

Karen Anderson sang Angelica sympathetically and strongly
Joshua Kosman, San Francisco Chronicle

Karen Anderson -last year’s Tosca- gives a mesmerizing performance as Angelica. Her pure, radiant soprano carries the soaring vocal lines with assurance, breathing life into every note. Her “Senza Mamma” one of the composer’s greatest arias-is heartbreakingly beautiful, and her final scene is movingly transcendent.
Georgia Rowe, Contra Costa Times

The Tosca role was splendidly sung by Karen Anderson, a soprano whose voice projected like a beam of light. As an actress, Anderson came into her own in the great second act…when Anderson poured out Tosca’s grief in the eloquent "Vissi d’arte," the effect was stunning.
Marilyn Tucker, Contra Costa Times

Anderson created a luminous Tosca with her secure, richly hued soprano. Stately and beautiful, she moved with an appropriately imperious air.
Cheryl North, Oakland Tribune

Karen Anderson adds another fine Utah Opera characterizations the slave girl Liu- the womanly voice of reason, compassion and devotion. Anderson sings Liu’s affecting arias with feeling, her lovely lyric soprano in fine estate, and dies pathetically in the best Puccini tradition.
Dorothy Stowe, Deseret News

Karen Anderson as Pamina sang with the cleanness- with no vocal affectation- that is the essence of a strong Mozart interpretation. Without being sentimental she brought a tender despair to her aria lamenting Tamino’s indifference.
Anne Matthews, Salt Lake Tribune

At the upper limits was Karen Anderson, a good actress whose substantial soprano had the right proportions, quality and expressiveness for a steadfast, feminine Pamina.
Dorothy Stowe, Opera News

For better or worse, La Boheme depends on its Mimi. Karen Anderson delivered a Mimi who could carry the opera without any other help. She moved well, she showed a true feeling for the part, and throughout the evening she maintained a pure, youthful, silvery quality of voice which heightened the heartbreak of the role.
Linda Wilton Smith, The Register-Guard

Soprano Karen Anderson, in her company debut, impressed greatly as Nedda, singing a perfect ballatella in praise of Nature’s beauty.
Dimitri Drobatschowsky, The Arizona Republic

Karen Anderson –shows a fine control over her instrument, keeping it fresh and innocent in her early appearances, releasing intensity and power in the closing scenes.
Michael Ackley, Sacramento Bee