Reviews

Clo_HeadshotSoprano Claudette Peterson as Gilda stopped the show last night with a thrilling rendition of the aria “Caro nome”.  The timbre of her voice is incomparably lyric and she has brilliant control of her upper  register.  She is earnestly innocent as Gilda.  She has a handle on this character that makes believable even the famous, final duet with her father.
Arizona Daily Star

Soprano Claudette Peterson, as Rigoletto’s daughter Gilda, turns in a stunning vocal performance.  In arias such as the lovely “Caro nome”, she luxuriates romantically in her tone, milking the coloratura display for every last drop of sonority.  She also has a dead accurate sense of pitch.
Daily Citizen, Tucson AZ review of Arizona Opera’s Rigoletto

Carnegie Recital
She is a first-class Soprano, one who sang the coloratura of Mozart’s “Exsultate, Jubilate” cleanly and clearly, who kept Poulenc’s “Airs Chantes” alive and charming, who caught the simple grace of Rossini’s “Serate Musicale” and who could give Strauss’s “Sausle, Liebe Myrte” an affecting sweetness.  This is a voice with a big brilliant top, a good sense of pitch, and an ability to communicate musically.
New York Times – Bernard Holland

Claudette Peterson brought her first Manon anywhere, vocal security, radiance and warmth that added up to the best sounding Manon New York has heard since Sills at her peak.
Village Voice, New York City – Leighton Kerner

Claudette Peterson was the Manon and she was superb.  It was difficult to believe she was singing the role for the first time, so dramatically convincing was her characterization.  She sang with dazzling accuracy in clear French diction and traversed the many shifting moods of Manon in a limpid soprano that caressed the vocal demands.
Opera Digest – William Wells

Miss Peterson had an aria full of flashy coloratura, which she handled brilliantly.
New York Times – Harold Schonberg

Claudette Peterson tossed off phrases in the stratosphere with dazzling ease.
Washington Post – Paul Hume

Claudette Peterson, an accurate coloratura with great diction, sang flawlessly.
Washington Star

Soprano Claudette Peterson had a honey of a voice, a sound that flashes and gleams.
Boston Globe review of Opera New England’s Daughter of the Regiment

She was an ideal Blonde, taking on her highest phrases with ease and delight, and acting with such controlled gusto that she raised visions of equally fine Despinas and many others.
Washington Post – Paul Hume

Claudette Peterson made a delectable Blonde, vocalizing with poise, playing with charm.
Opera News – Robert Jacobsen

Claudette Peterson’s Lucia was at the heart of this tale of romantic idealism betrayed by greed.  A stirring display of disciplined musicianship coupled with impassioned expression.  Peterson projected an innocence and frailty devoid of any ingénue underpinnings, and sang with beguiling effortlessness.
Arizona Daily Star

Soprano Claudette Peterson, the guest artist, demonstrated a great deal of finesse in the “Audition Song”, the “Laughing Song”, and the “Czardas” from Die Fledermaus and in the “Voices of Spring” and “Tales of the Vienna Woods”.  Peterson’s voice has the elegance and gentleness these songs and arias require.
The Times, Shreveport, LA review of Shreveport Symphony Concert

Peterson has one of the purest of soprano voices, backed by a sure technique, wonderful agility, the ability to project without forcing, and an equally astonishing ability to float a high note as if it were suspended by the thinnest of silk threads...  And she brought the audience to its feet with her winsome and wonderfully musical performance of the “Vilia Song” from Franz Lehar’s The Merry Widow.
Grand Rapids Press (MI) review of a concert in De Vos Hall

Perhaps the most impressive of the newcomers was Claudette Peterson as Adele the chambermaid.  With her kewpie-doll face, light and agile soprano and unforced charm, she was close to the soubrette ideal for the part.
Chicago Tribune review of Lyric Opera of Chicago’s Die Fledermaus

As Adele, Claudette Peterson cut a figure of petite charm blessed with vocal bloom.  Her delivery of the popular “Laughing Song” buoyant and witty was a big hit, exuding the assurance and beauty upon which the art of comic opera depends.  It must be said that the operetta’s tenuous last act proved less tedious than usual thanks largely to Adele’s sprightly “Audition” for the prison governor.  Peterson’s vibrant appearance shifted the action into high gear.
Chicago Sun Times review of Lyric Opera of Chicago’s Die Fledermaus

Claudette Peterson was ideally suited for the choice part of the saucy maid, Adele.  Miss Peterson owns an amazingly flexible, resonant voice.  In addition, she is a talented actress.  She was dazzling in the Laughing Song – her ah-ha-has were outrageously provocative and in the Act III aria she tossed off the trills and roulades as effortless as a kitten purrs.
Manchester, NH review of Opera New England’s Die Fledermaus

Another reason to see the production is Claudette Peterson who plays the part of the chambermaid.  She has all the vocal ability, sparkle, elegance and seductive charm to make her the real star of the show.  Her 2nd act aria was stunning.
The Advocate, Stamford, CT review of Opera New England’s Die Fledermaus at the American Shakespeare Theater

Claudette Peterson, the audience favorite, had vocal agility and astonishing power for so petite a figure.
Orlando Sentinel review of Orlando Opera’s Die Fledermaus

As she took over the role, one would have thought she had always planned to play the fox.  Miss Peterson’s assertive soprano adapted well to the character of the cunning vixen, and crawling on all fours, rolling around the floor and kicking her feet in the air to be foxlike seemed not to disturb her at all.  The production remained a marvel to behold.  The entire cast made the performance glow with vitality.
New York Times review of NYCO Cunning Little Vixen

Claudette Peterson, a gifted lyric soprano and a stunning actress made her debut as Susanna.
St. Louis Globe Democrat review of Opera Theater of St. Louis’s Marriage of Figaro

Her Susanna combines to best effect both the grace and the good humor needed for the role.  Her third act “letter duet” with the countess was sheer enchantment.
Honolulu Advertiser review of Hawaii Opera Theater’s Marriage of Figaro

Claudette Peterson was a charming Cunegonde.  Her versatile voice carries the day, including the almost camp coloratura moments of the work.
The Star-Ledger, Newark, NJ review of NYCO Candide

As the girl that Frederic adores, Claudette Peterson was utterly adorable, a coloratura cutie with a flirtatious manner and a kewpie-doll face.
Philadelphia Inquirer review of TPOT Pirates of Penzance performance

Claudette Peterson was a gorgeous Pamina with a fine sense of Mozartean line.
Nevada State Journal review of Nevada Opera’s Magic Flute

Her Pamina was silver voiced and deliciously seductive.  Friday’s leads, all national stars, set new vocal and dramatic standards for Nevada Opera.
Evening Gazette, Reno NV review of Nevada Opera’s Magic Flute

Superb.  She not only looked the pert, vivacious Norina, but was vocally ideally suited to the roulades and coloratura demands of the music.  The success of “Don Pasquale” was immeasurably enhanced by her clear enunciation and reliable intonation.
Leger-Star, Norfolk VA review of Virginia Opera Association’s Don Pasquale

A most attractive performer with a lovely voice…reminiscent of the freshness and joy Beverly Sills brought to such bel canto roles.  A most entertaining actress, with flair and constant characterization.  Her trills and running passages were extremely clear and clean.
Daily Press, Newport News VA review of Virginia Opera Association’s Don Pasquale

Outstanding was Claudette Peterson, brilliant in Fan’s Act I aria.
Opera News – Robert Jacobsen on Virginia Opera Association’s world premiere of A Christmas Carol

There are excerptable arias, including a grateful coloratura showpiece for Scrooge’s sister Fan, brilliantly executed by Claudette Peterson.
Post Gazette, Pittsburg, PA review of Virginia Opera Association’s world premiere of A Christmas Carol

Claudette Peterson made a perfect doll, both in her acting and coloratura display.  Her Olympia was the piece de resistance of the performance.  Her droll mechanical portrayal was delightful and her singing sparkling.
Ledger-Star, Norfolk, VA review of Virginia Opera Association’s Les Contes d’Hoffmann

She literally stops the show with her enchanting interpretation of Olympia.
Times-Herald, Newport News, VA review of Virginia Opera’s Les Contes d’Hoffmann

Peterson brings down the house with her deadpan, marvelously mechanical portrayal of the dancing doll for which she has the full vocal measure as well.
Virginia Gazette, Williamsburg VA, review of Virginia Opera’s Les Contes d’Hoffmann

She steals the show whenever she is on stage, catching every nuance of her role.  Her vocalism sparkles.   Her disguises as the charlatan and the notary were the comic highlights of the evening.
Sunday Peninsula Herald (CA) review of Hidden Valley Opera’s Cosi Fan Tutte

The heroine in every sense of the word was Claudette Peterson as Marie.  There is not much she cannot do – and do very well.  Her clear textured soprano is capable of considerable volume, but also of much subtlety.  She produces and places it with the ease of superb training, and her pitch is excellent.  She contributed genuine emotion to this fundamentally comic opera.  As an actress, she is direct and outgoing, and she also is blessed with an appealing comic gift.
Maine Evening Press, Portland ME review of Opera New England’s Daughter of the Regiment

Claudette Peterson and her sparkling soprano voice easily captured the hearts of the audience.  Indeed, her petite size, crystal clear singing, enthusiasm and surprising singing power made her perfect for the part.
Norwich Bulletin (CT) review of Opera New England’s Daughter of the Regiment

Without doubt, Claudette Peterson steals the show.  She is a “Daughter of the Regiment” possessing youth, a marvelous coloratura soprano with convincing acting ability.  She wins your heart.
Windham County Observer (CT) review of Opera New England’s Daughter of the Regiment

Claudette Peterson was delightful as Marie.  Her soprano has power and reach, and she is warm and attractive.
Worcester Telegram (MA) review of Opera New England’s Daughter of the Regiment