press quotations

Wolf Trap Opera, The Seven Deadly Sins
"As the opera went on, I grew increasingly impressed with Rosen's vocal abilities and artistic strength...she absolutely commanded the stage and belted out her emotions...Rosen roared to life in a manner that truly grabbed me." -criticaldance.org

Opera Omaha ONE Festival, The Wreck
"Even more ingenious was The Wreck...the astonishing live performers are the alter-ego singers - soprano Mary Feminear...and mezzo-soprano Annie Rosen, in gilded mermaid makeup. Nothing is predictable...yet the narrative fits together. ...The Wreck is a persuasive expression of complex female feeling." -The Wall Street Journal

Lyric Opera of Chicago, Rising Stars in Concert 2017
"Rosen's charismatic way with Charlotte's letter scene, from Massenet's 'Werther,' made it the evening's tour de force." -Chicago Tribune

Wolf Trap Opera, The Juniper Tree
"Mezzo-soprano Annie Rosen had bone-chilling vocal power as the Stepmother." -Washington Classical Review

Lyric Opera of Chicago, Les Troyens
"Adding to the beauty here is...a most winning portrayal of Aeneas' son, Ascanius (mezzo soprano Annie Rosen, ideal in a "pants" role)." -Chicago Sun-Times

"Mezzo-soprano Annie Rosen was charmingly believable in the trouser role of Ascanius, Aeneas's son, and sang beautifully." -St. Louis Post-Dispatch

Heartbeat Opera, Kafka Fragments

"Extraordinary...a flat-out triumph for its two fearless performers. For her part, Rosen deployed her rich, vibrant tone to fill even the most jagged vocal lines with shape and allure." -OperaNews

"Rosen...resisted the urge to scream or bellow so alluring to singers of this sort of music: Her phrasing was mellow, her belief in the fragmentary and symbolic phrases assured. She can fade in and out of character at will, impassioned or spiritually crushed by quick turns. She and the various violins played by Ashworth had an intense and even physical, relationship. Both performers acted to the hilt...Rosen was never less than intensely present, and her voice is very attractive. I can see why she enjoyed this chance to demonstrate what she can do." -parterre box

"The athletic music [of Kafka Fragments] ranges from the fiercest dissonances to bits of lyric nostalgia, and the totally committed performers made it savage, moving, and - when appropriate - funny." -The Wall Street Journal

"Mezzo-soprano Annie Rosen and violinist Jacob Ashworth commanded the stage in a gripping and imaginative new production by co-artistic director Ethan Heard...Rosen and Ashworth showed uncommon stage chemistry, maintaining a musical and dramatic authority adequate to the demands of a fiendishly difficult score. ...They fully inhabited their musical parts: hers, a frenetic monodrama of enormous range...and fearlessly put across every musical gesture, never interrupting the flow of an utterly convincing stage performance that ranged in emotional state from playful to histrionic." -Musical America

Wolf Trap Opera, Roméo et Juliette
"Special mention should be given to mezzo-soprano Annie Rosen in a pants role as Stephano, Romeo’s page.  She shows feisty theatrical flair as well as accomplished singing in delivering Stephano’s aria; I can see Carmen in her future."  -operagene.com

"As Stéphano, Annie Rosen revealed a bright mezzo and sang her aria with flair." -Opera News

​"The young cast delivers a powerfully affecting and emotionally riveting performance...beautifully realized performances (like Annie Rosen's Stephano, the page)." -The Washington Post

"Mezzo Annie Rosen is memorable in the trouser role of Roméo’s bratty page, TPing the Capulet’s house." -Washington City Paper

Lyric Opera of Chicago, Faust
"Annie Rosen was a worthy Siébel, well earning her usually cut second aria." -Chicago Classical Review

"Annie Rosen brought a sweet, agile mezzo-soprano to the role of Siébel." -Musical America

"As the lovesick adolescent Siébel, who moons over Marguerite but also falls victim to Mephisto’s machinations, mezzo-soprano Annie Rosen sang with equal parts of technical finesse and emotional vulnerability." -Classical Voice America

"Annie Rosen was a pert Siébel who soared above the staff with ease." -OperaNews

"Mezzo-soprano Annie Rosen was a sprightly Siébel, who not only showed poise and bright sound in the flower song...but who also sympathetically sang Siebel's second aria...she is another artist in the cast who has an important operatic career ahead of her." -operawarhorses.com

Lyric Opera of Chicago, Das Rheingold
"Woglinde (Diana Newman), Wellgunde (Annie Rosen) and Flosshilde (Lindsay Ammann) arrive perched on steely cranes from which they not only sing with great beauty, but move seductively like veteran aerial dancers as they teasingly flirt with the Nibelung dwarf Alberich...(Take that, Cirque du Soleil!)" -Chicago Sun-Times

Lyric Opera of Chicago, Rising Stars in Concert 2016
"The show stealing scene, my opinion and based on the audience response, was the powerful act two scene from Poulenc's Dialogues des Carmélites with Annie Rosen delivering the night's most soul-crushingly vulnerable performance as Blanche." -Vocal Arts Chicago

"The Ryan Opera Center program this year has a really amazing roster of singers - in particular, a mezzo named Annie Rosen...[Her scene] was one of the best things I've seen on the Lyric stage...she broke my heart and the audience went wild." -OperaNow! Podcast

Lyric Opera of Chicago, La Cenerentola
"As Cinderella’s nasty stepsisters, soprano Diana Newman (Clorinda) and mezzo Annie Rosen (Tisbe) knocked the ball out of the park in their Lyric Opera debuts. The Ryan Opera Center first-year artists were wonderfully detestable and showed the theatrical ease and seasoned maturity of veteran performers. Both women sang superbly in their duos and ensembles and brought consistent vitality to the evil siblings’ comic shenanigans, not least the interplay with their Kardashian-esque bustles." -Chicago Classical Review

"Soprano Diana Newman and mezzo Annie Rosen, first-year Ryan Opera Center members of bright promise, had a ball with the comic shtick the director gave the silly stepsisters." -Chicago Tribune

Cantata Profana, Root Music
"As mezzo-soprano Annie Rosen launched fearlessly into “Malorous qu’o uno fenno”...a grin that fell just short of laughter spread from her face to her bare feet, rooted firmly in the floor...
[E]ach performer was carried by Rosen’s voice, which switches from honeylike to powerful and even frightening in seconds. If she is a diva, she hides it well. Part of the group members’ appeal is their utter lack of pretension. As a highlight of their 2013-14 season, she meshed with them beautifully." -New Haven Independent

Teatro Regio di Torino, L'elisir d'amore
"Giannetta è stata una precisa e intonatissima Annie Rosen, bravissima anche nell’interpretazione."
"Giannetta was a precise and perfectly tuned Annie Rosen - bravissima as well for her interpretation." -MTG Lirica