Lucia di Lammermoor

Anna Vikre takes a star turn with the title role's dynamic range. Her peaks can be soft and atmospheric or hard and crystalline, but she deftly ascends them again and again. In the famous mad scene, Vikre's staccato duet with flute player Karen Busler is a blazing display of vocal prowess. Her rapid-fire notes were crisp, intense and well-deserving of the bravas that followed.

—Commercial Appeal, Memphis Playbook

Opera Memphis hit a high note in more ways than one with its Lucia di Lammermoor. First, soprano Anna Vikre, in the title role, performed superbly. Her voice was strong, clear and emotional in the role of the lover going, then gone, mad. Her instrument rang notes rarely heard on stage here. And her acting drew in the audience. She deserved the prolonged applause.

—Memphis Mojo – Real News, Reviews and Views on Memphis Entertainment

On Friday, October 8, an expectant audience filed into The Orpheum Theatre. The word was out. Gaetano Donizetti's opera, Lucia di Lammermoor was receiving raves. Opera Memphis was doing itself proud. To open the evening, Steve Aiken welcomed the audience and happily foretold that a special operatic experience was in store. "There will be notes you have not heard before," said the affable Aiken. He should know. He is the General Director of Opera Memphis. He knew. There were notes that we, the appreciative, responsive audience had not heard...and not just a couple of zingers. There were repeated. Awesome vocal wonders. Anna Vikre, in the role of the ill-fated Scottish heroine almost stopped the show twice by earning extended ovations for her soaring soprano feats. A golden moment was the "duet" of Anna Vikre's soprano splendor and Karen Busler's mastery of the flute. When they alternated phrases it was magic.

—Special to the Tri-State Defender

Soprano Anna Vikre is compelling as the ill-fated Lucia. Her vocal technique is impeccable, capable of negotiating the most ornate passages of this elaborate music with ease and security – all the while singing with a brilliant, touch-of-Callas timbre and drama that is riveting as well as ravishing. Beautiful and demure, she made for an extremely convincing and vulnerable heroine.

—The Des Moines Register

La Traviata

When Anna Vikre took her bow at the end of "La Traviata," one's first instinct was to shout not "brava" but "Is there a doctor in the house?" Her tragic illness in the last scene had been so musically and emotionally convincing that her curtain call almost seemed miraculous. A strong leading cast and sensitive orchestra shone in the Sacramento Opera production. As the courtesan Violetta Valery, Vikre launched into the high, rapid and ornamented lines of a lighthearted flirt without the least hint of strain, her powerful voice vibrating through the still air. The most stirring singing, however, came when her character began to fall apart. Weak from tuberculosis, Violetta spun out fine threads of sound with aching purity.

—Sacramento Bee

Die schweigsame Frau

Vocally, luminosity of tone and dramatic point balanced the satirical airs at hand. Especially impressive were Rod Nelman, in the anchoring role as the old misogynist Sir Morosus, and Anna Vikre as his chameleonic innocent-turned wicked Aminta.

—Opera Now

Anna Vikre was perfect for the role of the not so silent, make believe wife in the Richard Strauss opera. Her tiny frame and mousy presence expanded into a voice capable of piercing power as she gave a fuss budget old man a lesson in tolerance. Vikre is a lyric soprano, by reason of temperament and high range. Her meek initial appearance expanded not into venom but into a serenely empowered woman.

—Random Lengths Harbor Independent News, San Pedro

One thing Long Beach Opera does consistently is find great young singers. The Aminta, Anna Vikre, showed an astonishing coloratura range, and her insanely difficult second act aria was a technical tour de force.

—Grunion Gazette, Long Beach

Anna Vikre as Aminta, the silent wife who is anything but silent, soared in authentic Straussian soprano fashion.

—Los Angeles Times


Marc Blitzstein's perceptive adaptation of Lillian Hellman's The Little Foxes, is a favorite among connoisseurs (seen July 4 matinée). This opera's subtle power often fails to register in large theaters, but it found a near-ideal setting in DMMO's intimate venue, with its unique downstage playing circle; when the lights went up on R. Keith Brumley's post-Antebellum parlor, one felt like an eavesdropper amid all those insidious Hubbard family machinations. The production boasted some near-ideal casting as well. Rod Nelman brought a well-honed facility in contemporary opera to the role of Oscar Hubbard, and Anna Vikre's fluttery Birdie nailed the Lionnet aria's coloratura flights.

—Opera News

Die Zauberflöte

All live up to their credentials, but it is Anna Vikre as the Queen of the Night who bursts onto the stage here. Vikre has almost made a career out of the queen's role. And her breath control, tone placement, emotional commitment – are truly remarkable. The power of her voice on the staccato notes alone practically brought the audience to its feet.

—Deseret News

At the Utah Festival Opera Company's third and final opening this season, The Magic Flute, it was easy to pick out the star. Take the Queen of the Night, Anna Vikre, for example. Her first appearance on stage was dominating enough, filling the eyes and imagination of the audience members, showing the inklings of a magnificently powerful voice. But on her second appearance, Vikre absolutely brings the house down. It was a drop jaw offering of spirit and passion and voice that reached every corner of the grand old Eccles Theater.

—Utah Statesman

Anna Vikre, as the Queen of the Night, tore into the coloratura fireworks with tonal solidity and startling technical ease. In her Act II aria, she decided to raise Mozart's ante...inserting a couple of super-high notes of her own that were brilliantly delivered. She gave the queen a commanding stage presence too. It was quite an achievement.

—Sun Sentinel

Coloratura soprano Anna Vikre met Mozart's high F's head on in the treacherous scales and high tessitura of her two arias. With some amazing rallantandos at the top of each phrase she punched out each note clear as a bell.

—Coral Gables Gazette

The other obvious kick ass performance comes from Anna Vikre, whose coloratura soprano is dead-solid perfect in her two arias.


At least for the first two hours, the most exciting five minutes proved, as you'd expect, to be the Act II aria of the Queen of the Night, admirably performed by Anna Vikre. Her icy virtuosity was stunning.

—The Tennessean

The most sublime moments were performed by the female voices. American soprano Anna Vikre in the role of the Queen of the Night sung one of the most beautiful arias.

—Etcé[email protected], Mexico City

California soprano Anna Vikre returns to sing the wickedly difficult coloratura of the Queen of the Night with fire a nd impeccable technique.

—The Des Moines Register

Anna Vikre's entrance as the Queen of the Night – and her cleanly articulated coloratura – certainly screamed "lofty status."

—The Colombus Dispatch

Anna Vikre, who sang the Queen of the Night with this company in 1995, repeated her taxing role to great acclaim.

—Opera Japonica