In the Press

Il Barbiere di Siviglia at Atlanta Opera

 

“Irene Roberts as Rosina shines early on in the star-turn aria “Una Voce Poco Fa,” but her voice actually becomes even richer and more alluring in its lush suppleness as the performance progresses: she handles the careening turns of the part with agility and ease. Though nowadays Rosina is often played by a high soprano, the part was actually written for a mezzo such as Roberts, and her performance is an object lesson in why that voice type is so fitting. There’s a lusty richness in what she brings to the role that a high and pure soprano never could impart in just the same way. She can sound languorous and sugary, but just as quickly she can adopt speed and drama, even a touch of viciousness (Rosina promises to become a viper if she’s double-crossed after all: this is no cloistered, passive ingénue).”

-Atlanta Journal Constitution

Les Contes d’Hoffmann at Palm Beach Opera

 

“Mezzo-soprano Irene Roberts impressed the most with her three roles (Nicklausse/The Muse/Antonia’s mother). Her voice, diction and acting skills were spot-on at all times, and she clearly deserved the ovation she received at the evening’s end.”

-Palm Beach Daily News

“A real strength of the performance throughout were the multiple roles juggled by Irene Roberts. She brought a gleaming mezzo and seamlessly phrased singing to the roles of Hoffmann’s servant Nicklausse, The Muse and Antonia’s Mother. Whether performing with subtle comedic timing as Hoffmann’s male servant or as the demanding Muse urging him to forgo love for literature, she was a vivacious, charismatic stage presence.”

-South Florida Classical Review

“Roberts, who sang with the Young Artists program not long ago and appeared as a fine Suzuki in Madama Butterfly in 2011 before moving on to one of the Flower Maidens in the Metropolitan Opera’s 2013 production of Parsifal, was an ideal Muse. In all of her appearances, she dominated whatever the action was at the time, and she did so with a large, rich, youthful voice that impressed as one with plenty of reserves to spare. Her acting was good, too, though it’s too bad she didn’t have more to do: Her impression of Olympia’s automaton movements almost brought down the house, brief though the bit was.”

-Palm Beach Arts Paper

Les Contes d’Hoffmann at San Francisco Opera

 

“…we meet the courtesan Giulietta, here the vocally plush and lovely mezzo-soprano Irene Roberts.”

-New York Times

“Mezzo-soprano Irene Roberts gave a fine, tonally resplendent company debut as Giulietta.”

-San Francisco Chronicle

“Irene Roberts made a splendid Giulietta.”

-Opera Now

“Giulietta, who here gets accidentally dispatched by Hoffmann, is a shorter assignment but Irene Roberts displayed a glowing mezzo and attractive stage presence as the duplicitous courtesan.”

-The Classical Review

“Mezzo-soprano Irene Roberts, yet another company debutante, possesses a gorgeously tempered instrument as the seductive Giulietta.”

-Concertonet