PRESS

“Claudia Rosenthal, portraying the sickly Beth, gives us a soprano performance that is equal parts gentle and forceful...There are aspects of her soprano delivery that seem glass-fragile, making her tragic storyline all the more powerful.” – Darby DeJarnette, DC Metro Theater Arts, Little Women, 2017

“What a treat (and relief) it was to hear such sustained soprano singing; pure, clear, unmarred by a tremolo or similar tricks (although these would be totally out of place in Handel), and she infused her acting of the part with the few subtle traces of comic relief the opera allows quite effectively. She, too, achieved resounding success in her role, and…was received by the audience with great enthusiasm.” – George Parous, Pittsburgh in the Round, Riccardo Primo, 2017

“Soprano Claudia Rosenthal, portraying Isacio’s daughter, Pulcheria, achieved the greatest balance between musical and dramatic interest. Her character…became more complex over the course of the opera. Ms. Rosenthal achieved this maturation through her delivery—both comic and sympathetic—and her willingness to have fun with ornamentation…she took risks with the role and gave it a memorable portrayal.” – Elizabeth Bloom, Pittsburgh Post- Gazette, Riccardo Primo, 2017

CLICK HERE for a feature article on Claudia’s stepping in as Violetta: "...the applause Ms. Rosenthal received at the curtain call was unlike anything...witnessed in Pittsburgh." – Elizabeth Bloom, Pittsburgh Post-Gazette, La Traviata, 2016

“The $10,000 top prizes were justly awarded to…soprano CLAUDIA ROSENTHAL, who gave a funny, confident and stylish account of “Non Monsieur mon mari” from Les Mamelles de Tirésias…” – Brian Kellow, Opera News, The George London Foundation Awards Competition, 2016

“Claudia Rosenthal, an amusing Berta, made the most of her opportunity in the second act, pouring out her aria with…volume and vehemence…she sang and acted the small part in high spirits.” – George Parous, Pittsburgh in the Round, The Barber of Seville, 2016

“…superbly performed” – Mark Kanny, Pittsburgh Tribune, The Barber of Seville, 2016

“Of the top choices, four were among my own picks…and the soprano Claudia Rosenthal...who offered a farcical number from Poulenc’s ‘Les Mamelles de Tiresias.’” – James R. Oestreich, The New York Times, George London Foundation Awards Competition, 2016

“...we loved Claudia Rosenthal's "Non monsieur mon mari" from Poulenc's Les mamelles de Tiresias. It was an unusual choice but it gave full access to her vibrant personality and acting skills.” – Meche Kroop, Voce di Meche, George London Foundation Awards Competition, 2016

“Soprano Claudia Rosenthal brought a bright vocalism to the role of Amy.” – Elizabeth Bloom, Pittsburgh Post-Gazette, Little Women, 2016

“Claudia Rosenthal was persuasive as Amy…dramatically crucial…” – Mark Kanny, Pittsburgh Tribune, Little Women, 2016

“The other two March sisters, Amy and the sickly Beth, were sung and acted by Claudia Rosenthal and Adelaide Boedecker, respectively—and quite respectably. Both of the young artists acquitted themselves well, vocally and histrionically, and stood out in the rather busy ensemble.” – George Parous, Pittsburgh in the Round, Little Women, 2016

“…soprano Claudia Rosenthal’s regal bearing and imposing voice…” – Brian Schuth, The Boston Musical Intelligencer, Festival of Contemporary Music, 2014

“…soprano Claudia Rosenthal was as fervent as the poetry with a voice that was dramatic, beautifully enunciated and had strength in every register. She gave the emotional poems all the virility, all the imagery and all the unforced love which they required. It was a stunning performance…” – ConcertoNet, Carnegie Hall Debut, 2013