Ännchen / Weber's Der
Freischütz
Macau International Music Festival
November, 2011
"Erica Miller was an ideal Ännchen vocally
and dramatically."
—Satoshi Kyo, Paying Patron Perspective
(full review)
Marie / Donizetti's Daughter of the
Regiment
Opera in the Heights
September, 2011
"And what a stunning cast:
Coloratura Erica Miller sings Marie as if it had been
written for her. She sails through those treacherous
roulades and filigreed passages for which Donizetti was so
famed and then, slowing down, wraps her supple voice around
those honeyed tunes of romance. She's also an agile
comedian, with her hairs in tufts and sporting a corset,
she's an appropriate tough girl."
—D.L. Groover, Houston Press
(full review)
"Soprano Erica
Miller as Marie, mesmerizes us
and takes us to that place of coloratura heaven where few
have trod. Her bright and shining
instrument so powerfully and profoundly touches us, that
all we can do is wait until the end of every aria she
conquers so we can scream 'Brava!' Ms. Miller finds the
center of Marie and runs with her, taking us with her as
her life changes drastically."
—Buzz Belmont, Houston Chronicle (full review)
"In the title
role of Marie, Erica Miller’s coloratura was given
multiple chances to shine. Miller sang her demanding
arias with impressive technique and style, especially given
the fact that her Marie was very physical, constantly
moving around the stage."
—Robin Lowe, Opera
Pulse (full review)
Aspasia /
Mozart's
Mitridate
Little Opera Theatre of New York
May, 2011
"Erica
Miller's Aspasia was imposingly regal; it didn't hurt that
she has a stature and figure that would have made her an
apt model for a statue of Juno. Mostly, however, she
commanded with a full, solid soprano; I personally found
her most convincing in her passionate, grieving,
never-quite-perfect resignation, e.g. 'Nel grave tormento,'
'Pallid'ombre.' "
—Lucy
Barnhouse, Opera
Obsession (full review)
"Erica Miller's powerful soprano
negotiated all of Aspasia's passagework nimbly and rose to
her many high notes with a bit of an edge but without undue
shrillness."
—John Deredita, Opera-L (full review)
"The other two women's
roles--Sifare, the good...prince, and Aspasia, the main
squeeze...were beautifully sung by mezzo Serena Benedetti
and soprano Erica Miller. Both roles are written with
unforgiving coloratura and high notes, and both women sang
and acted them admirably. Both...gave beautiful
performances with the literally forty-eleven other arias
each had....Their duet "Se viver non
degg’io" was one of the treats of the evening."
—David Browning, Taminophile
(full review)
