Sara, Cold Mountain, Opera Philadelphia

"Singing beautifully, Rachel Sterrenberg made the desperate single mother Sara appealing and heart-breaking" (David Shengold, Opera News) Full Review

"Curtis alumni Rachel Sterrenberg's depiction of  Sara, a poor, desolate mother willing to sacrifice her dignity for the sake of her infant son, was deeply powerful and moving"  (Bryan Buttler, Philadelphia Magazine) Full Review

In the scene-stealing role of a young mother, Rachel Sterrenberg sings beautifully, and acts with real depth" (David Fox, Full Review

"Rachel Sterrenberg is quite moving as a widow, who like Ada, has learned to be tough." (Neal Zoren, Full Review

Higdon's In the Shadow of Sirius with the Aizuri Quartet

"Sterrenberg, a recent Curtis graduate, in perfect diction and soft smiling tone, drew beautifully vivid imagery." (Peter Dobrin, Philadelphia Inquirer) Full Review

Soprano Soloist, Carmina Burana, Reading Choral Society

"Soprano Rachel Sterrenberg delivered "In the wavering balance" with gentle vulnerability, and was utterly thrilling in "Sweetest one!" Her voice was perfect for this work, silvery and dulcet." (Susan L. Pena, Reading Eagle)

Annina, La Traviata, Opera Philadelphia

"Standouts among them in this production are soprano Rachel Sterrenberg, a Curtis Institute student who sang well here as the maid Annina (as she did in the company's recent production of Yardbird)" (Andrew Moravcsik, Opera Today) Full Review 

Chan Parker, Charlie Parker's YARDBIRD, Opera Philadelphia

"Rachel Sterrenberg’s admirable dynamic control underscored Chan’s piquant sensuality." (David Shengold, Opera News) Full Review

"Rachel Sterrenberg makes an ideal Chan, especially in the wrenching scene when she mourns the death of the baby girl she had with Parker." (Anthony Tommasini, New York Times)  Full Review

"Two episodes stand out: a bluesy number for Parker’s wife Chan about how his music won him her love, arrestingly sung in a rich, iridescent soprano by Rachel Sterrenberg" (George Loomis, Financial Times) 

"Rachel Sterrenberg was tender in her solo where she asks Parker to let her light up his life." (Steve Cohen, The Opera Critic) 

"soprano Rachel Sterrenberg, last seen as Anne Trulove at Curtis, was ethereal as Chan." (Micaela,

"Particularly gratifying is the singing and overall performance of Rachel Sterrenberg, a recent graduate of the Curtis Institute for her work as Parker’s last of four wives, Chan...Rachel Sterrenberg brought an air of class and sophisticated to Chan Parker...Behind Chan’s veneer, Sterrenberg conveys Chan’s love for Charlie and her willingness to live with his self-destructive habits." (Neal Zoren, Full Review

Anne Trulove, The Rake's Progress, Curtis Opera Theatre

"Rachel Sterrenberg has a sweet and light soprano which carries well... Sterrenberg made her sincere and honest." (Micaela, Full Review

Spano's Hölderlin-Lieder (Arr. Ludwig):

"Sterrenberg gave bravely dramatic and richly colored readings of the songs" (Joan Reinthaler, Washington Post) Full Review

"Soprano Rachel Sterrenberg gave herself over completely" (David Patrick Stearns, Philadelphia Inquirer) Full Review

"Curtis vocal student Rachel Sterrenberg coped skillfully with the high vocal writing and heavy orchestration. Her gorgeous lower register imbued the long-winded final song with needed poignancy." (Lawrence Budmen, Miami Herald) Full Review

Blanche de la Force, Dialogues des Carmélites, Opera Philadelphia/Curtis Opera Theatre

"Sterrenberg shows various levels of Blanche’s dilemma... When Sterrenberg sings, you hear Blanche’s caution in her voice. This does not mar the loveliness or affecting quality of Sterrenberg’s performance. It adds texture to it. She serves her character and Fein while serving Poulenc and Rovaris." (, Philadelphia) Full Review

"Sopranos Rachel Sterrenberg and Sarah Sanford (Shafer*), as Blanche and Constance, give their characters depth and vocal subtly. Sterrenberg conveys so much about her character in the opening scene, donning a Versailles hoop skirt and wig, literally uncomfortable in her own skin." (Lewis Whittington,

"Sterrenberg herself shows some fine acting skills as well as the doubtful and confused Blanche... Her scene arriving at her father's home to find him dead and the servants ruling the roost was nicely done, as was her performance in the closing scene." (Marakay Rogers, Full Review

The Romeo + Juliet Project, Chautauqua Music Festival

"Sterrenberg’s soprano is (mercifully) not the tweetybird coloratura sometimes wrongly deployed in Juliette’s part because of the famous waltz song; her wide-ranged, occasionally steely soprano formed kind of a parallel to Goldman’s bold approach. This suited best the dramatic “Potion aria,” once usually cut from this consistently underrated score — but Sterrenberg managed some nice runs elsewhere." (David Shengold, The Chautauquan Daily,) Full Review

"The soprano's delivery of “Je veux vivre” (I want to live it up), imbued with girlish excitement, was technically spot-on in all its vocal ornamentation and filigree" (Richard Carter, Full Review

Inside 'The Romeo and Juliet Project'