As Mimi is La Boheme with Boheme Opera NJ:
"Ms. Strauss has a solid background in 19th century opera, including performances with the Metropolitan Opera. She was in total control of the role, proving that she could float high notes well, spinning the sound until the ends of the phrases.
Nancy Plum, Town Topics
As Mimi in La Boheme with Cedar Rapids Opera Theater:
"The focus of the story is the ebbing and flowing relationship of seamstress Mimi and poet Rodolfo. Erica Strauss and Eric Barry are simply heartbreaking in their passion and pathos."
Diana Nollen, Cedar Rapids Post-Gazette
As Leonora in Il Trovatore with Opera New Jersey:
"Erica Strauss, an impeccable singer, made a stately, sympathetic Leonora (the story’s love interest) and sang two of the greatest arias Verdi write for soprano — Tacea la notte placida, D’amor sull’ali rosee — to well deserved ovations."
Michael Redmond, CentralJersey.com
"You heard soprano Erica Strauss (Leonora) find greater meaning in the beautiful vocal cadenzas that lift the opera out of its antique dramaturgy."
David Patrick Stearns, Philadelphia Inquirer
"Soprano Erica Strauss brought a tremendous amount of vocal stamina to the role of Leonora, soaring with ease into the coloratura stratosphere for which Verdi is known...Ms. Strauss demonstrated great control in the cavatina and cabaletta of here opening scene (Verdi was experimenting with forms other than arias) handling the quick coloratura of the show-stopping cabaletta well. Particularly as the opera progressed into more dramatic and theatrical territory, Ms. Strauss proved that she is a soprano who can sing forever, never losing strength, even as Verdi saved the most difficult singing for the final scene."
Nancy Plum, Town Topics
In a Concert of Excerpts from Dvorak’s Rusalka with the Green Bay Symphony Orchestra:
“The second standing ovation came for guest artist soprano Erica Strauss, who wonderfully sang three arias from Antonin Dvorak's "Rusalka." Strauss ranged from sweet to agitated as she both caressed and launched colorful notes throughout the big hall.”
Warren Gerds, Green Bay Press Gazette
As the Soprano Soloist in Verdi’s Messa da Requiem with the Tulsa Oratorio Chorus:
“In fact, each of the soloists – [Bass Wayne] Tigges, tenor Dan Snyder, mezzo-soprano Dana Beth Miller and soprano Erica Strauss – gave thrilling performances separately and in various combinations. Strauss' performance of the "Libera me" could not be faulted, moving from strength to strength.”
James D. Watts Jr., Tulsa World
As Gilda in Rigoletto with the Sarasota Opera:
“Erica Strauss was a girlish, diminutive Gilda; […] the soprano did have plenty of power in some exciting high notes.”
John Fleming, Opera News
“Erica Strauss sang Gilda with a full, rich, beautiful voice…”
June LeBell, The Sarasota Observer
“As his daughter Gilda, the apple of his eye, soprano Erica Strauss had us believing she was just naïve enough to fall for and sacrifice her life for the lecherous Duke of Mantua. Hers was a rather full, yet flexible voice that managed many emotions quite well.”
Gayle Williams, Sarasota Herald-Tribune
“Soprano Erica Strauss as Gilda; […] had the purity of voice appropriate to the role…”
Herman Trotter, American Record Guide
In Recital at the Cleveland Art Song Festival:
“Emotional Opening for Art Song Fest
The Art Song Festival has a new home, Baldwin-Wallace College, but its mission hasn't changed. Along with recitals by top international singers and pianists, the festival continues to nurture emerging performers.
The 18th festival opened Monday at B-W's Gamble Auditorium with a concert by two young musicians who clearly have fire in their artistic bellies. Presented by the festival in association with the Marilyn Horne Foundation, soprano Erica Strauss and pianist Jerome Tan offered a varied program with equal degrees of sensitivity and passion.
Strauss, a member of Chicago's Lyric Opera Center for American Artists, claims a big, clarion voice that one day could lead her to roles in works by Wagner and Strauss (Richard, no relation) -- and possibly Puccini's "Turandot." She isn't merely an opera singer who scales things down for the art-song stage. While Strauss could be more decisive projecting words, she goes beneath the surface to find a song's emotional core.
With Tan, an extraordinarily poetic and forceful collaborator, Strauss explored pieces by Joseph Marx, Ben Moore, Cécile Chaminade, Charles Ives, Sergei Rachmaninoff and composers from the St. Petersburg Society for Jewish Music. She sang in German, English, French, Russian, Yiddish and Hebrew, languages that held compact stories of love, nature and faith.
We don't hear enough of Marx, an Austrian composer whose post-Romantic sensibility may have relegated him to old-fashioned status. The songs Strauss and Tan performed showed Marx to be a superb craftsman of German lied. The perverse aura in "Chopin Waltz" suggested Strauss could be a compelling Salome. She savored the heraldic phrases, sending her voice bravely into the hall.
Five enchanting songs by Moore allowed Strauss to show her more intimate side. The soprano still needs to cultivate soft singing, but she is attentive to nuance and meaning. The humor in "The Ivy-Wife," which uses tree metaphors to describe an amorous relationship, found Strauss and Tan relishing the quirky turns of phrase.
Despite the dramatic weight of her voice, Strauss can be flexible, as she demonstrated in Chaminade's "L'Ete." Her intensity energized four songs from the St. Petersburg Society collection, full of yearning and life-affirming sentiments, and she evinced charm in three gems by Ives.
There were moments in five Rachmaninoff songs when Strauss let high notes become steely. Yet the way she inhabited each piece, and the expert shading Tan invested everywhere, drew the listener into the composer's ecstatic and playful world. Their encore was Kern and Hammerstein's "All the Things You Are," done with bountiful warmth.”
Donald Rosenberg, The Cleveland Plain Dealer
As Marianne Leitmetzerin in Strauss’ Der Rosenkavalier with Lyric Opera of Chicago:
“Standouts among the comprimarios included an ebulliently vocalized Marianne from Erica Strauss…”
Mark Thomas Ketterson, Opera News
As the First Lady in Mozart’s Die Zauberflöte with Lyric Opera of Chicago:
“Other standouts in the cast include Erica Strauss…”
Bill Gowen, Daily Herald
“A distinctive-timbred trio of Ladies — Erica Strauss, Lauren McNeese and Meredith Arwady — crowned an evening of satisfying vocalism.”
Mark Thomas Ketterson, Opera News
As the Soprano Soloist in Beethoven’s 9th Symphony with the Chicago Philharmonic:
“The voices of the soloists -- soprano Erica Strauss, contralto Meredith Arwady, tenor Joseph Kaiser and bass-baritone Christian Van Horn -- were clear and fresh.”
Ben Rachlis, Pioneer Press
In Rising Stars in Concert at Lyric Opera of Chicago:
“Soprano Erica Strauss was touching in Amelia's Act I aria from Verdi's ‘Simon Boccanegra’.”
Wynne Delacoma, Chicago Sun-Times
As the High-Priestess in Aida at Lyric Opera of Chicago:
“Soprano Erica Strauss of the Lyric Opera Center displayed radiant vocal promise in the priestess' offstage solo.”
John von Rhein, Chicago Tribune
“Erica Strauss brought an attractive lyric soprano to the undulating lines of the Priestess.”
Mark Thomas Ketterson, Opera News
"Ms. Strauss has a solid background in 19th century opera, including performances with the Metropolitan Opera. She was in total control of the role, proving that she could float high notes well, spinning the sound until the ends of the phrases.
Nancy Plum, Town Topics
As Mimi in La Boheme with Cedar Rapids Opera Theater:
"The focus of the story is the ebbing and flowing relationship of seamstress Mimi and poet Rodolfo. Erica Strauss and Eric Barry are simply heartbreaking in their passion and pathos."
Diana Nollen, Cedar Rapids Post-Gazette
As Leonora in Il Trovatore with Opera New Jersey:
"Erica Strauss, an impeccable singer, made a stately, sympathetic Leonora (the story’s love interest) and sang two of the greatest arias Verdi write for soprano — Tacea la notte placida, D’amor sull’ali rosee — to well deserved ovations."
Michael Redmond, CentralJersey.com
"You heard soprano Erica Strauss (Leonora) find greater meaning in the beautiful vocal cadenzas that lift the opera out of its antique dramaturgy."
David Patrick Stearns, Philadelphia Inquirer
"Soprano Erica Strauss brought a tremendous amount of vocal stamina to the role of Leonora, soaring with ease into the coloratura stratosphere for which Verdi is known...Ms. Strauss demonstrated great control in the cavatina and cabaletta of here opening scene (Verdi was experimenting with forms other than arias) handling the quick coloratura of the show-stopping cabaletta well. Particularly as the opera progressed into more dramatic and theatrical territory, Ms. Strauss proved that she is a soprano who can sing forever, never losing strength, even as Verdi saved the most difficult singing for the final scene."
Nancy Plum, Town Topics
In a Concert of Excerpts from Dvorak’s Rusalka with the Green Bay Symphony Orchestra:
“The second standing ovation came for guest artist soprano Erica Strauss, who wonderfully sang three arias from Antonin Dvorak's "Rusalka." Strauss ranged from sweet to agitated as she both caressed and launched colorful notes throughout the big hall.”
Warren Gerds, Green Bay Press Gazette
As the Soprano Soloist in Verdi’s Messa da Requiem with the Tulsa Oratorio Chorus:
“In fact, each of the soloists – [Bass Wayne] Tigges, tenor Dan Snyder, mezzo-soprano Dana Beth Miller and soprano Erica Strauss – gave thrilling performances separately and in various combinations. Strauss' performance of the "Libera me" could not be faulted, moving from strength to strength.”
James D. Watts Jr., Tulsa World
As Gilda in Rigoletto with the Sarasota Opera:
“Erica Strauss was a girlish, diminutive Gilda; […] the soprano did have plenty of power in some exciting high notes.”
John Fleming, Opera News
“Erica Strauss sang Gilda with a full, rich, beautiful voice…”
June LeBell, The Sarasota Observer
“As his daughter Gilda, the apple of his eye, soprano Erica Strauss had us believing she was just naïve enough to fall for and sacrifice her life for the lecherous Duke of Mantua. Hers was a rather full, yet flexible voice that managed many emotions quite well.”
Gayle Williams, Sarasota Herald-Tribune
“Soprano Erica Strauss as Gilda; […] had the purity of voice appropriate to the role…”
Herman Trotter, American Record Guide
In Recital at the Cleveland Art Song Festival:
“Emotional Opening for Art Song Fest
The Art Song Festival has a new home, Baldwin-Wallace College, but its mission hasn't changed. Along with recitals by top international singers and pianists, the festival continues to nurture emerging performers.
The 18th festival opened Monday at B-W's Gamble Auditorium with a concert by two young musicians who clearly have fire in their artistic bellies. Presented by the festival in association with the Marilyn Horne Foundation, soprano Erica Strauss and pianist Jerome Tan offered a varied program with equal degrees of sensitivity and passion.
Strauss, a member of Chicago's Lyric Opera Center for American Artists, claims a big, clarion voice that one day could lead her to roles in works by Wagner and Strauss (Richard, no relation) -- and possibly Puccini's "Turandot." She isn't merely an opera singer who scales things down for the art-song stage. While Strauss could be more decisive projecting words, she goes beneath the surface to find a song's emotional core.
With Tan, an extraordinarily poetic and forceful collaborator, Strauss explored pieces by Joseph Marx, Ben Moore, Cécile Chaminade, Charles Ives, Sergei Rachmaninoff and composers from the St. Petersburg Society for Jewish Music. She sang in German, English, French, Russian, Yiddish and Hebrew, languages that held compact stories of love, nature and faith.
We don't hear enough of Marx, an Austrian composer whose post-Romantic sensibility may have relegated him to old-fashioned status. The songs Strauss and Tan performed showed Marx to be a superb craftsman of German lied. The perverse aura in "Chopin Waltz" suggested Strauss could be a compelling Salome. She savored the heraldic phrases, sending her voice bravely into the hall.
Five enchanting songs by Moore allowed Strauss to show her more intimate side. The soprano still needs to cultivate soft singing, but she is attentive to nuance and meaning. The humor in "The Ivy-Wife," which uses tree metaphors to describe an amorous relationship, found Strauss and Tan relishing the quirky turns of phrase.
Despite the dramatic weight of her voice, Strauss can be flexible, as she demonstrated in Chaminade's "L'Ete." Her intensity energized four songs from the St. Petersburg Society collection, full of yearning and life-affirming sentiments, and she evinced charm in three gems by Ives.
There were moments in five Rachmaninoff songs when Strauss let high notes become steely. Yet the way she inhabited each piece, and the expert shading Tan invested everywhere, drew the listener into the composer's ecstatic and playful world. Their encore was Kern and Hammerstein's "All the Things You Are," done with bountiful warmth.”
Donald Rosenberg, The Cleveland Plain Dealer
As Marianne Leitmetzerin in Strauss’ Der Rosenkavalier with Lyric Opera of Chicago:
“Standouts among the comprimarios included an ebulliently vocalized Marianne from Erica Strauss…”
Mark Thomas Ketterson, Opera News
As the First Lady in Mozart’s Die Zauberflöte with Lyric Opera of Chicago:
“Other standouts in the cast include Erica Strauss…”
Bill Gowen, Daily Herald
“A distinctive-timbred trio of Ladies — Erica Strauss, Lauren McNeese and Meredith Arwady — crowned an evening of satisfying vocalism.”
Mark Thomas Ketterson, Opera News
As the Soprano Soloist in Beethoven’s 9th Symphony with the Chicago Philharmonic:
“The voices of the soloists -- soprano Erica Strauss, contralto Meredith Arwady, tenor Joseph Kaiser and bass-baritone Christian Van Horn -- were clear and fresh.”
Ben Rachlis, Pioneer Press
In Rising Stars in Concert at Lyric Opera of Chicago:
“Soprano Erica Strauss was touching in Amelia's Act I aria from Verdi's ‘Simon Boccanegra’.”
Wynne Delacoma, Chicago Sun-Times
As the High-Priestess in Aida at Lyric Opera of Chicago:
“Soprano Erica Strauss of the Lyric Opera Center displayed radiant vocal promise in the priestess' offstage solo.”
John von Rhein, Chicago Tribune
“Erica Strauss brought an attractive lyric soprano to the undulating lines of the Priestess.”
Mark Thomas Ketterson, Opera News