Opera News

"The production boasted a strong cast, notably Christina Rohm in the title role. Her fresh, freely produced lyric soprano may well have been expressly developed as a vehicle for Puccini's soaring melodies. . . she was effective and touching as the mature heroine, the technical assurance of her singing letting her realize the music — and consequently, the character — without compromise. In the last act, her voice took on some surprising dark colorings, both appropriate to the tragic circumstances and beautiful in themselves." - Fred Cohn

Opera News

"Of the secondly characters, two were outstanding  - Christina Rohm, as Edgardo's sister Rachele" - Arol Mckinnon

Wall Street Journal

"Christina Rohm was fierce as her sister Harriet." Heidi Wales

Brooklyn Discovery.com

"Ms. Rohm’s special magic shined in “Crudele . . .Non mi dir,” her passionate versatile showpiece in the second act which was sung with remarkable coloratura precision, power and panache!" - Nino Pantano

Brooklyn Daily Eagle

"Anna Glawari, the wealthy widow, was brilliantly sung and acted by soprano Christina Rohm. Ms. Rohm’s voice has great beauty and is full, round and sumptuous in sound. She simply WAS Anna Glawari." - Nino Pantano

Basso Buff

"Christina's Rohm's Gertrude, the mother, was strong, adept, comfortable on stage and polished. We all agreed she was delightful."

Brooklyn Daily Eagle

"Mimi, a seamstress, was poignantly sung by soprano Christina Rohm, who broke our collective hearts with her fine-spun and powerful soprano in such gems as “Mi Chiamamo Mimi” in the first act and “Donde lieta" in the second act. Her death scene was shattering."  - Nino Pantano

Super Conductor

"The challenge is finding singers who can make the characters convincing and still sing Puccini's soaring melodic lines with power and finesse. Soprano Christina Rohm showed both of those qualities, charting Butterfly's development from giggling geisha girl to a fully mature, heartbroken woman. . . She soared through "Un bel di," floating the notes of that famous aria above the stave. The singer also displayed a thorough understanding of the nuances of the part . . .  Finally, Ms. Rohm displayed great power (and some wonderful low notes) in the final suicide." - Paul Pelkonen

Brooklyn Daily Eagle

"Cio-Cio San was brilliantly sung by soprano Christina Rohm. Rohm’s entrance aria “Ancora Una Passo or Via” caught our ears with its shimmering pure sound. Her ardent vocalism in “Bimba Dagli Occhi” her love duet with Pinkerton, was thrilling . . . During Rohm’s powerful, passionate singing of the popular “Un Bel Di” in the second act, her voice soared to the heavens. . . Rohm’s poignant outpourings had many reaching for the Kleenex. Her final aria “Tu, Tu Piccolo Iddio” sung to her child, “Sorrow”, just before her suicide, was riveting." - Nino Pantano

Brooklyn Daily Eagle; OPERA-L

"In the title role, Christina Rohm was a riveting Tosca. Rohm's soprano voice is a lovely instrument, with a darkish hue, flexibility and a tremendous amount of power. When she shifts vocal gears, from fiery jealous outbursts to vulnerability, her vocal line is seamless. Her confrontations with the evil Baron Scarpia were bone chilling and her portrayal breathed both ice and fire. Her renditions of the aria 'Vissi D’arte' was among the most dramatic and poignant in memory." - Nino Pantano

Brooklyn Daily Eagle

"Rohm was a sensual, honey-voiced and thrilling Giulietta." - Nino Pantano


"Christina Rohm was a sultry Giulietta, with a rich instrument." - Paul Pelkonen

Forum Opera.com

"Parmi les personnages secondaires, il faut signaler la Rachel de Christina Rohm, artiste à l’instrument solide et convaincant à laquelle s’ajoute une grande expansivité musicale et une présence scénique mesurée et élégante ; qualité affirmée principalement dans le bel interlude du second acte, libre adaptation du Cantique des Cantiques." - Giulio D’Alessio

Translation: "Among the secondary characters, a standout was the performance of Rachele by Christina Rohm, an artist whose solid instrument convincingly added a great musical expansivity and a measured and elegant stage presence; this was especially true of the beautiful interlude of the second act, a free setting of the Song of Songs."


"Also impressive was Christina Rohm as Rachele" - Paul Pelkonen

"Soprano Christina Rohm was a delight as the Jewish girl, Rachele, and possesses a rather lovely voice."  - Dan Boone


"Christina Rohm as Harriet Mosher sang with clear tone and brilliance in the top." - Whitney Scott

Gay City News

"Christina Rohm was a vocally strong Butterfly with a tireless upper register." - Eli Jacobson


"Christina Rohm as Cio Cio San . . . gave the audience a visceral thrill with (her) lush and powerful singing . . . Christina Rohm sang with rapture." - Nino Pantano

Brooklyn Daily Eagle

"Christina Rohm was a splendid Marguerite whose luscious soprano was sparkling in her “Jewel Song” and was radiant in her “Eternelle” love duet . . . Rohm’s touching acting and magnificent singing were great highlights of this performance. Rohm’s singing in the final act . . . was indescribable in its impact, beseechingly powerful, yet humbling and heartfelt." - Nino Pantano

Times Herald-Record

"Cio Cio San was sung by soprano Christina Rohm. She perfectly captured the romance of the geisha . . . Rohm sang the hopeful aria "Un bel di" about the day of her lover's promised return with exquisite conviction and emotion, which she sustained to the tragic undoing of all her dreams in the final act." - James Cotter


Christina Rohm . . . was the Claudia.  Her large-scale soprano showed promise."  - Erik Meyers
Photo by Fay Fox

"Her fresh, freely produced
lyric soprano may well have
been expressly developed
as a vehicle for Puccini's
soaring melodies . . . "

- Opera News

"Christina Rohm broke our collective hearts with her

fine-spun and
powerful soprano"

- Brooklyn Daily Eagle

"Non mi dir . . . was
sung with remarkable
coloratura precision,
power and panache!"

- Brooklyn Discovery

"Christina Rohm gave the
audience a visceral thrill
with (her) lush and
powerful singing"


"Christina Rohm
was fierce . . . "

- Wall Street Journal