Press

Elektra at the Verbier Festival

“Elektra, played by soprano, Lise Lindstrom, uses more than a traditional palette of colors. Onstage for almost the whole hour and forty-five minutes of the opera, she never flags. Each of her major encounters in the field of anguish fills us with both her and her character’s range of emotional power – whispers, shouts, shrieks, cries, growls of desperation, rage, giddy exaltation, exultation, and grief. Remarkably, Lise Lindstrom’s vocal capacity begins to seem infinite. Her voice here is rarely beautiful unless she wants it to be and winds up mostly slicing the shrill by choice, but always a constant hammer, forcing one nail after the other into the coffin that will become her mother’s, and that of Aegisthus. And she is not afraid to use it so. Hell-bent, this Elektra, smiling and mocking, unchecked, desperate and agitated, in her green robe, bedecked with floral neck design, is perfectly at home in the part, its range, its tonality, its violence. Never does she let us out of her grip. From facial variety – eyes staring, glinting, gleaming, closing, flashing, alarming – to hand gestures that cap some of the range and depth of her emotion – as well as body shift and switch, give us a whole woman, wracked by what she is determined to let be known.”

- Opera Wire, July 30, 2017

Götterdämmerung at Opera Australia

“Lise Lindstrom’s Brünnhilde, her first full Cycle in the role, should install her as one of the greats”

- The Guardian, November 29, 2016

Die Walküre at Opera Australia

“Lindstrom is glorious as Brünnhilde, headstrong and mercurial but also pensive and supple. There is a ringing, exalted aspect to her performance, and her voice is winningly warm and penetrating. It bodes well for the long journey to come.”

- Time Out, November 25, 2016

Götterdämmerung at Opera Australia

“when Lindstrom, a tremendous Brunnhilde throughout, entered for the final scene in rage and despair at the death of Siegfried, the production improbably went up another notch. Regal, beautiful, every inch the daughter of a god but also a fatally wounded mortal, hers was a consummate performance as she ended the Ring in a blaze of glory literally and metaphorically.”

- The Sydney Morning Herald, November 29, 2016

Siegfried at Opera Australia

“Lise Lindstom too delves deeply into the conflicted side of Brünnhilde, charting the path from radiant awakening through the dawning realisation of the challenges of her new world in great detail. Vocally she’s ideal – secure and always exciting at the top, yet able to caress a line to bring out the character’s vulnerability. Her Ewig war ich, ewig bin ich is gorgeous, her final ecstatic cries of Leuchtende Liebe! Lachender Tod! thrilling.”

- Limelight Magazine, November 26, 2016

Die Walküre at Opera Australia

“Right from her opening war cry of “hoi-jo-to-ho” she demonstrated impressive vocal prowess: her voice has fabulous cut, which enabled her to be heard easily above the heavy orchestra. She was a convincing actress to boot, especially when she was pleading with Wotan in the final scene.”

- BachTrack, November 25, 2016

Elektra at Opéra de Montréal

“In the title role, American Lise Lindstrom… in addition to piercing highs and powerful projection, possesses a rare quality among dramatic sopranos: a youthful tone that is ideally suited to the character.”

- Avant-Scène Opéra, November 21, 2015

Elektra at Opéra de Montréal

“American soprano Lise Lindstrom is a perfect Elektra, with her powerful voice, tragic or soft when needed, as well as her physical qualities and acting abilities, which also require her to dance and to move the statue, allowing the audience to see it from all sides. It is a true performance, and one that Lise Lindstrom fulfills completely.”

- Huffington Post, November 23, 2015

Elektra at Opéra de Montréal

“American dramatic soprano Lindstrom was fiercely good in the demanding title role. An admirable vocal range carried her character from black rage and despair to the deceptive sweetness, even madness, expressed in her shimmering top notes – part of the emotional insight she brought to her powerful yet nuanced singing.”

- BachTrack, November 23, 2015

Elektra with Opéra de Montréal

“Balances were excellent because voices were strong. The American soprano Lise Lindstrom was fiery in the title role but also astute enough to register Elektra’s fleeting migrations from sarcasm to lyricism.”

- Montreal Gazette, November 22, 2015

Salome with Bournemouth Symphony Orchestra

“Eclipsing all others, rightly, was the Salome of Lise Lindstrom…who must be regarded as one of the finest living exponents of this fearsomely taxing role. She has the seductive looks, the cruel half-smile, the mesmerising stage presence and, above all, the vocal range and cutting edge.”

- The Times, October 2015

Salome with Bournemouth Symphony Orchestra

“Lise Lindstrom in the title role rose magnificently to its very considerable demands including an extraordinary vocal range from extreme highs to lows, considerable stamina and strong projection.  Her ineffective seduction of the Baptist was very well shaped alternating the obsequious with withering scorn.”

- Seen and Heard International, October 2, 2015

Salome with Bournemouth Symphony Orchestra

“Salome was sung by Lise Lindstrom. Her voice is ample but not over-heavy, lending credibility to the girlish aspects of the character. It also has a silvery quality, but she can turn on a metallic edge which enhanced the projection of Salome’s petulant and implacable utterances.”

- Classical Source, October 2, 2015

Salome with Bournemouth Symphony Orchestra

“American soprano Lise Lindstrom was mesmerising in the title role, demonstrating her widely-acclaimed dramatic soprano. Her performance was a gripping piece of operatic acting switching smoothly between girlish petulance and an unsettling calm.”

- Daily Echo, October 1, 2015

Salome with Bournemouth Symphony Orchestra

“In her fiery red dress, the Salome of Lise Lindstrom stood out as a petulant princess, delivering flickering vocal lines that suggested a fragility missed by many singers of this part.”

- The Telegraph, October 1, 2015

Salome with Bournemouth Symphony Orchestra

“Lindstrom seemed to pull the drama in around her in every scene in which she appeared. She stalked the platform, her movements calculated and taut, her eyes wary: Salome as wounded predator.”

- TheArtsDesk.com, October 3, 2015

Turandot with Opera Australia

“Lise Lindstrom, she of the towering soprano in stature as well as voice, gave Turandot a suitably cold edge but it was a magnetic performance for all that. The young American displayed a sharp and powerful voice, restrained when it needed to be and with a rare fluidity.”

- The Daily Telegraph, June 24, 2015

Turandot with Opera Australia

“As Turandot, Lise Lindstrom’s singing was steely and terrifying in the second act, the sound cutting through the air like the hard gleaming edge of the executioners’ blades wielded around her by muscle-bound guards. In the third act she took on more complex hues allowing warmth into the sound to create a performance of compelling impact.”

- The Sydney Morning Herald, June 25, 2015

Turandot with Opera Australia

“Out front in the title role is America soprano Lise Lindstrom, who brings a true dramatic soprano tone into play (she’ll be playing Brünhilde in Opera Australia’s Ring Cycle next year, and it’s clear from her performance in this role that she has a voice of Wagnerian proportions)…It’s also an impressive dramatic performance in a rather strangely written role — she almost overcomes the absurdity of her character’s third act transformation from ice queen to loving wife.”

- Daily Review, June 25, 2015

Turandot with Michigan Opera Theatre

“Lindstrom could pin us to our seats with sheer volume and she commands the stage with practiced imperial gestures, but Lindstrom understands that a great Turandot needs to find the moments when the character’s vulnerability can be revealed. The soprano accomplishes just that, delivering in Act III soft yet insistent legato phrases… We saw the tender heart beneath the glacial, dragon assoluta exterior.”

- Opera News, July 2014

Turandot with Michigan Opera Theatre

“In the aria ‘In questa reggia,’ Lindstrom’s silvery but powerful voice attacked her high B’s and C’s with laser-like accuracy. She didn’t just sing those notes, she annihilated them.”

- The Detroit News, May 11, 2014

Turandot with the Royal Opera House

The stage presence and immensely powerful voice of the American soprano Lise Lindstrom made the elusive Turandot the magnetic force that she needs to be.… Lindstrom is a fast-rising star of the dramatic soprano repertory and absolutely one to watch.

- The Independent, September 10, 2013

Turandot with the Royal Opera House

“As Turandot, Lise Lindstrom seizes attention with the first notes of In Questa Reggia and then never lets go.”
- The Guardian, September 10, 2013

Salome with Wiener Staatsoper

“Lise Lindstrom is a Salome to be reckoned with. Here’s a soprano with a model figure and the ideal deportment to depict Strauss’ teenage princess. Not only has she the capacity to soar over the composer’s most intense orchestration with ease and beauty, but she manages to maintain seemingly endless stamina throughout – and includes a compellingly seductive dance for good measure. It was gratifying to see the well-earned reception at her solo curtain.”

- The Opera Critic, May 18, 2012

Turandot with Austin Lyric Opera

“There’s not a weak link in this Turandot‘s chain of performers, but Lise Lindstrom as the stone-cold titular princess – having also recently debuted in the role at the Met, La Scala, and the Deutsche Oper Berlin – reigns supreme with her soaring performance…it’s difficult to tear one’s attention away from Lindstrom. The greatest challenge of donning the infamous headdress of Turandot may be in creating a sympathetic character, a difficult task indeed when one considers her resemblance to the likes of Marie Antoinette. But Lindstrom channels the pathos of Turandot with true grace, and despite the princess’ very bloody hands, we are persuaded to see her motivation.”

- The Austin Chronicle, April 20, 2012

Salome with San Diego Opera

“Lindstrom demonstrated Saturday at the Civic Theatre [that] she was born to portray the title role in Strauss’ Salome… Every moment she was on stage in the well-sung production, which was pretty much the entire, single-act opera, she was completely present, absolutely committed, and dramatically and vocally compelling.”

- U-T San Diego, January 29, 2012

Salome with San Diego Opera

“Ms. Lindstrom weaves us through her twisted psychological path with such intensity that it grabs one by the throat. She handles the seemingly difficult vocal reaches with great fortitude while at the same time gyrates through a mixture capricious feelings with assuredness.”

- ConcertoNet, January 30, 2012

Salome with San Diego Opera

“As Salome, Lindstrom proved the mastery of stage director Sean Curran’s brilliant dance choreography and psychologically aberrant portrayal of the Tetrach Herod’s stepdaughter.”

- Opera Warhorses, January 31, 2012

Salome with San Diego Opera

“Much of the evening’s success rode gallantly on the alluring shoulders of the young American singer Lise Lindstrom, whose radiant dramatic soprano voice rose to every challenge Strauss tossed her way, and they were legion. She agilely conquered his volatile, wide-ranging vocal lines, maintaining a lustrous quality in her highest range, where the composer kept her much of the evening… she gave her emotional range and depth that made her intriguing to observe.… I will be surprised if she does not [become] the Salome of choice in the widest of opera circles during this decade.”

- SanDiego.com, January 30, 2012

Salome with San Diego Opera

“Soprano Lise Lindstrom couldn’t have been a more exquisite or exciting Salome.”

- San Diego Theater Examiner, January 31, 2012

Turandot with Florentine Opera

“One of several good reasons for seeing the Florentine Opera’s lavish production of Puccini’s “Turandot” is the performance of one of the world’s most in-demand interpreters of the title role. Soprano Lise Lindstrom sailed through the significant vocal demands of Turandot with a focused, brilliant sound, finding the power to soar above dense orchestrations without a hint of tension or effort Friday evening at the Marcus Center’s Uihlein Hall. She believably conveyed the cold, walled-off nature of Turandot, and made her eventual humanization a touching moment.”

- Journal Sentinal, November 5, 2011

Turandot with Kansas City Opera

“The elegant Lise Lindstrom is an imposing presence as the title character and commands our attention with her own soprano voice, which is capable of delicate shadings and unmitigated power.”

- Kansas City Star, October 2, 2011

Turandot with Kansas City Opera

“Finally in Act 2, Lise Lindstrom’s diamond-edge soprano arrives, well suited to ‘In questa reggia’ and to the emphatic announcement ‘No, mai nessun m’avra’ (“No one will ever have me”). This is pure Puccini, and in the hands of such a capable soprano, committed to musicality and precision, it was magnificent. Lindstrom moves with the measured grace of a princess, splendid in her icy coolness, and she managed a certain believability in Turandot’s abrupt emotional turn-about in Act 3 during a powerful encounter with Calaf. ‘Principessa di morte!’ and ‘Del primo pianto’ were convincing enough to move the audience toward sympathy, just as the princess experienced her first kiss and her first tear.”

- KCMetropolis.org, October 3, 2011

Turandot with San Diego Opera

“Lise Lindstrom joins the limited list of distinguished dramatic sopranos who accomplish the demands of Turandot. Audiences are accustomed to a Turandot with a large, declamatory voice. In this instance, however, Ms. Lindstrom’s approach is toned down, exhibiting her interpretation with poise and elegance…. Lindstrom’s presence is dynamic.”

- ConcertoNet.com, January 31, 2011

Turandot with San Diego Opera

“American soprano Lise Lindstrom makes an impressive debut in the title role as the icy Princess Turandot. Lindstrom is cool and imperious as the callous queen-to-be, but her voice is warm, rich and lustrous (never shrill) with an evenness of tone. Turandot is known as one of the hardest roles in the dramatic soprano repertoire, but Lindstrom never falters, particularly in her all-over-the-scales second-act aria ‘In Questa Reggia.'”

- North County Times, February 2, 2011

Turandot with San Diego Opera

“Lise Lindstrom is in exclusive company: singers that can easily clear the steep crests of Turandot. Her voice is penetrating and interesting, warming to the ears as the night progressed. Lindstrom excelled in Alfano’s passages, possibliy presaging a move into Wagner. In currying the Emperor’s sympathy and hinting at curiosity over Liu’s devotion, Lindstrom delved into La Principessa’s internal struggles.”

- Opera Today, February 7, 2011

Turandot with Florida Grand Opera

“Lindstrom has a huge voice that gives her the ability to sing the role’s high notes without the stridency some singers bring to the role. She was appropriately icy–without ever being hard on the ears–in ‘In questa reggia’… And she managed Turandot’s transformation effectively, with her powerful voice becoming sweet and tender in her final duet with Calaf.”

- South Florida Classical Review, November 14, 2010

Turandot with Florida Grand Opera

“American soprano Lise Lindstrom, who is currently making something of a specialty of the title role…has a big, strong voice with a cutting quality that enabled her to slice through Puccini’s big orchestra and easily be heard. She embodied the force and malevolence of the ice princess well, and was able to communicate her softer potential, too, with a sensitive reading of ‘In questa reggia.'”

- Palm Beach Arts Paper, November 24, 2010

Turandot with The Metropolitan Opera

“In her first five minutes, Lindstrom sailed through the daunting solo ‘In questa reggia’ with an aplomb rarely seen even in the most experienced divas. Her voice…gleamed like a blue-white laser up to high C.… The tall, slender Lindstrom wielded the icy glamour of a ’30s film star, working the trains and veils of her elaborate costumes with the panache of a runway model.”

- The New York Post, October 30, 2009

Turandot with The Metropolitan Opera

“She was dramatically alluring and vocally impressive, winning enthusiastic ovations from the audience.… She sang with chilling power and nailed the top notes. Her sound was impressively focused, with a vibrant vibrato on sustained tones and no wobble. The youthful shimmer of her singing was balanced by rich emotional maturity.”

- The New York Times, October 29, 2009