Dorabella, sung by exceptional mezzo-soprano Irene Roberts...her voice was abundant, the tonal leaps from high to low, low to high, amply displayed her command of the music, as well as conveying emotional oscillation. Physically flexible on stage and pouty, flirty, coy, she contrasted exceptionally well to Cabell's more statuesque persona.

Lois SilversteinOpera Wire, Così fan tutte at San Francisco Opera

Roberts displayed all the necessary elements for this iconic role - a warm, sultry mezzo voice, with power and expressiveness, and an ability to project a woman who is at once capable of dominating men publicly while privately showing vulnerability and insecurity.

William BurnettOpera Warhorses, Carmen at San Francisco Opera

Roberts made a moving heroine, really articulating her emotional distress. Roberts has a fine, focused mezzo-soprano voice with a plangently expressive sense of line that she used finely in the lyric dialogue and in her moving death scene.

Robert HugillOpera Today, Il Proscritto with Opera Rara at Barbican Hall

Remarquée avec avantage dans le premier acte, la Vénus d’Irène Roberts révèle plus certainement encore ses grandes qualités dans le dernier. L’émission est d’une sûreté à toute épreuve, la projection rigoureusement maîtrisée, quand le timbre possède des trésors de couleur dont l’artiste use avec à-propos [lire nos chroniques des Huguenots et de Julie].

Bertrand BolognesiAnaclase, Tannhäuser with Opéra national de Lyon