Donna Anna, Don Giovanni, Mexico City

“La cantó y actuó la soprano Rachel Sterrenberg, muy bien en su difícil papel y en las arias virtuosas de extremas coloraturas y de estilo clásico que necesitan especialistas en su arte vocal”. (MANUEL YRÍZAR ROJAS)

Donna Anna, Don Giovanni, Opera Philadelphia

“Sung beautifully by Rachel Sterrenberg” (Susan Gould,

Chan Parker, Yardbird, The Atlanta Opera

“Lyric soprano Rachel Sterrenberg sounded absolutely at ease in the role of Chan, Parker’s common-law fourth wife.” (Stephanie Adrian, Opera News)

Rosalba, Florencia en el amazonas, Madison Opera

"As Rosalba, Rachel Sterrenberg, who made a memorable appearance last season as the wife Chan in “Charlie Parker’s Yardbird,” was a soprano of great flexibility who rendered her character’s opulent melodic lines with mounting ecstasy. Hers was a thrilling performance." (The Well Tempered Ear) Full Review

"Elizabeth Caballero and Rachel Sterrenberg, as the famous singer Florencia Grimaldi and her would-be biographer, Rosalba, are each strong and lustrous in conveying their characters." (Isthmus) Full Review

Annina, La Traviata, The Dallas opera

"Rachel Sterrenberg is excellent as Violetta’s faithful maid Annina" (Gregory Sullivan Isaacs, Full Review

Pamina, The Magic Flute, Opera Philadelphia

"Rachel Sterrenberg as a lush-toned Pamina" (Heidi Waleson, Wall Street Journal) Full Review

"Rachel Sterrenberg brings a full-throated soprano voice to her Pamina...Sterrenberg brings a beautiful creamy soprano voice to her portrayal of Pamina. Her rendition of “Ah, Ich Fuhl's” commands the stage and hushes the audience." (Gregory Sullivan Isaacs, TheaterJones) Full Review

 "Substantial soprano...Ms. Sterrenberg warmed to her task and settled in to provide a limpid, affecting Ach, ich fühl’s. In the final quartet Ben and Rachel’s intertwined lofty phrases fell quite wondrously on the ear." (James Sohre, Opera Today)

"Soprano Rachel Sterrenberg was a sweet-voiced Pamina" (Richard Sasanow, Broadway World) Full Review

"Ben Bliss as Tamino and Rachel Sterrenberg were solid and charming" (Peter Dobrin, Philadelphia Inquirer) Full Review

"[Rachel] sings this difficult role with maturity and grace" (Erik Flaten, Schmopera) Full Review

"Ben Bliss as Tamino and Rachel Sterrenberg as Pamina were fearless"(Ralph Malachowski, Full Review

"Rachel sings her aria “Ach, ich fühl’s, es ist verschwunden” (Oh, I feel it, it’s gone) sorrowfully but tenderly." (Eri Yoneda, Full Review

"Special kudos also to Ben Bliss, Rachel Sterrenberg, and Jarrett Ott for their performances as Tamino, Pamina, and Papageno, all excellent" ( Full Review

Chan Parker, Charlie Parker's Yardbird, English national opera

"Sterrenberg destacó como la más completa, tanto por su cálida voz como por su expresividad, en particular en la tierna escena en la que recuerdan como se conocieron por primera vez." [Sterrenberg stood out as the most complete, both for her warm voice and for her expressiveness, particularly in the tender scene in which they remember how they first met] (Elio Ronco Bonvehí, Cultural Resuena) Full Review

"soprano Rachel Sterrenberg, an Emerging Artist from Opera Philadelphia, was a powerful Chan Parker" (Colin Clarke, Seen and Heard International) Full Review

"Sterrenberg is very seductive in Chan's big aria" (Tim Ashley, The Guardian) Full Review

Chan Parker, Charlie Parker's YARDBIRD, Lyric Opera of Chicago

Soprano Rachel Sterrenberg brought to Chan an infectious presence and vocal exuberance that lit up the house. You couldn't help thinking, no wonder he was drawn to her. (Lawrence B. Johnson, Chicago on the Aisle) Full Review

"notably sexy in an aria about her first encounter with Parker"  (Heidi Weiss, Chicago Sun-Times) Full Review

There isn't a weak link in the casting of this production. Angela Brown, Rachel Sterrenberg, Angela Mortellaro, and Krysty Swann all possessed vibrant vocal talents. (Aaron Hunt, New City Stage) Full Review

Chan Parker, Charlie Parker's YARDBIRD, Madison Opera

"As Chan, Rachel Sterrenberg makes her vocals snap and fizz as she describes her first meeting with Parker, insisting she was drawn first to his music, not to the man himself." (Lindsay Christians, The Capital Times) Full Review

Rachel Sterrenberg (Chan) has a sultry stage presence... when their daughter dies, her moving aria, "Pree is dead," is eerily bleak. (Sandy Tabachnick, Isthmus) 


 "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


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


"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)


"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 


"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


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


"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


"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


"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