Die Frau ohne Schatten (Die Färberin) with the Rotterdam Philharmonic Orchestra

“The part of the woman that is imperative for the plot, that is, the wife of the dyer Barak, that is, Die Färberin, was created by the dramatic soprano, Lise Lindstrom. In doing so, she gave vocal expression to the frustrated wife in what she believed to be the narrow living space in the dyer house, the hysterical reaction to the supposed voices of the unborn children, and the fantasy that she had betrayed Barak, whom she still loves, depicted with triumphant high notes. She only realizes this when he wants to punish her as a reaction and so she also expressed this change of heart with long, high notes. One wonders where she got the strength for such a dramatic singing, as after all she matches the nurse’s saying about the slenderness of a young palm tree.”

- Online Merker, February 2020

Die Frau ohne Schatten (Die Färberin) with the Rotterdam Philharmonic Orchestra

“Lise Lindstrom drew an energetic Färberin with a striking, firm and, for this role, pleasantly radiant, shimmering, dramatic voice.”

- Opernmagazine, February 2020

Die Frau ohne Schatten (Die Färberin) with the Rotterdam Philharmonic Orchestra

“Like Schuster, soprano Lise Lindstrom and baritone Michael Volle brought the benefit of having lived with their characters on the opera stage to their fully fledged portrayals of the Dyer Barak and his Wife. […] Lindstrom competed for our loyalty by summoning pathos and sympathy for her frustrated Wife. Her slender voice is enticingly warm in the middle and focused on top. You could easily believe, seeing her suffer so beautifully, why Barak remains besotted with his wife no matter how much she scolds him.”

- Bachtrack, February 2020

Die Frau ohne Schatten (Die Färberin) with the Rotterdam Philharmonic Orchestra

“Lise Lindstrom was a phenomenal Färberin. With her petite body, she sang the role with much expression. She has such an enormous charisma that you can’t help but look at her. The role does not offer many moments to elate the audience, but at more moments than usual she succeeded to do so wonderfully.”

- Place de l’Opera, February 2020

Andromache’s Farewell with Dallas Symphony Orchestra

“The orchestra opened the piece with a bold four-note expression that would later form the melody of Andromache’s introductory phrase. Lindstrom’s soprano was warm, lamenting, and powerful, requisitely on the dramatic high A’s for which the piece calls. With biting diction and full, well-supported phrasing, her Andromache was dramatic and scornful, matched by the support provided by the orchestra.”

- Texas Classical Review, January 2020

Recording: Wagner Siegfried: Act III

“Lindstrom brings instant star quality to the role of Brünnhilde. Her voice clear but rich, and with plenty of character, even in the high register. Her vibrato is wide and slow, and ever-present, so there is never any sense of gradually warming long notes—it’s right there from the start.”

- Classical CD Reviews, December 2019

Turandot at Opera Australia

“As the “Ice Princess” she is riveting. She met with apparent ease the huge demands of “In questa reggia” depicting Turandot’s implacable ties to the historic tragedy which motivates her. In a powerhouse performance augmented by the towering costume and set high on a moving rostrum, Ms. Lindstrom held the audience in pin-drop silence as she sought to condemn her suitor. Her exceptional acting abilities dominated this act. She achieved great contrast in the second aria, “Figlio del cielo” as she resorted to emotional manipulation when her riddles had been answered. We saw developed in the short span of Act Two, a complex portrait of nightmarish complexity and irresistibility.”

- Concerto Net, November 2019

Turandot at Opera Australia

“Lindstrom is in her element as the icy princess. She is a still, imperious figure staring down her nose throughout, but for the confused tenderness of Turandot’s capitulation – a creaky, patriarchal turn of events that the soprano somehow almost renders believable. Her voice grew in suppleness, strength and precision, soaring with increasing splendour through Act III, recalling her previous, triumphant appearances in Melbourne as Brünnhilde for Opera Australia’s 2016 Ring.”

- Limelight Magazine, November 2019

Turandot at Opera Australia

“Sopranos who can sing the gruelling title role without breaking a sweat are in short supply. Blazing American soprano Lise Lindstrom is one of the best Turandots in the world and it shows, lazily filling the cavernous State Theatre with her steely, colossal soprano.”

- Brisbane Times, November 2019

Turandot at Gran Teatre del Liceu

“Lise Lindstrom gave us the sneer of cold command, a true ice princess. In the riddle scene that closes Act 2, I take my hat off to any pair of singers who can make themselves heard clear and strong above the Liceu Orchestra in full flood. Josep Pons certainly wasn’t holding back, but Lindstrom and Gregory Kunde powered through them.”

- Bachtrack, October 2019

Turandot at Gran Teatre del Liceu

“The atrocity and violence of Princess Turandot was well defended by Lise Lindstrom, more abundantly in beauty than in aggressiveness and in “In questa reggia” she has a splendid projection.”
- Platea Magazine, October 2019

Recording: Siegfried with Deutsche Radio Philharmonie

“The singers Stefan Vinke and Lise Lindstrom as Siegfried and Brünnhilde are at the height of the possibilities of today’s Wagnerian singing.”

- Klassik Heute, August 2019

Salome at Opera Australia

“Fortunate to score the amazing Lise Lindstrom in the title role…An overwhelming triumph especially for Lise Lindstrom. Perhaps the greatest Salome opera has ever had.”

- J-wire, March 2019

Salome at Opera Australia

“Lise Lindstrom gives a truly remarkable performance as Salome. A true dramatic soprano, on stage for almost the entire opera, her presence is magnetic and compelling, her sense of stillness as affecting as her singing. She dominates the stage seemingly effortlessly as she negotiates the complexities of the Strauss score, both her voice and diction ravishingly clear and controlled throughout.”

- Arts Review, March 2019

Salome at Opera Australia

“Lise Lindstrom maintained the vocal and psychological arch in her gruelling role as the eponymous princess. Her voice is strong and has the requisite timbre required for such a difficult part.”

- Bachtrack, March 2019

Salome at Opera Australia

“Lise Lindstrom met its exacting demands with power, beauty and credible physicality. She moved from petulant teenager as she rejected Herod’s advances, to her “obstinato” young woman, insisting she will have her way as she asserts Ich will dein mund kussen, Jochanaan (I will kiss your lips Jokanaan) finally realising her ghastly sexual desire. Lindstrom’s Liebestod in the last moments of the opera was a tour de force.”

- Sounds like Sydney, March 2019

Salome at Opera Australia

“Speaking of German opera specialists, American dramatic soprano Lise Lindstrom was a towering Brünnhilde in OA’s 2016 Ring Cycle, and here brings all that fury and fragility to the role of Salome. Across the impressive range it’s a lustrous voice of silvery hues, but with real dramatic heft the right side of cartoonish. She is ice-cold, almost bored by her creepy step-dad and unrequited love, and her duet with the silent severed head in the finale would give any Lucia (di Lammermoor) a run for her money in the madness stakes.”

- Daily Review, March 2019

Salome at Opera Australia

“American soprano Lise Lindstrom is totally at home with her capricious but determined character, who is just coming to understand the extent of her power. She tackles all of the vocal challenges of the role – from its sparkling top notes to the grumbling, demanding contralto-esque bottom – with both force and nuance. Her final scene, performed with a disturbingly realistic severed head, is a lusty, grotesquely realised breakdown.”

- Time Out Sydney, March 2019

Salome at Opera Australia

“Her performance is a long crescendo. After pausing for the voiceless dance her demands for Jokanaan’s head open out in ferocity over a range of more than two octaves leading to searing intensity in the final scene. With a strong stage presence of defiant young beauty and seething resentment it is a towering performance.”

- The Sydney Morning Herald, March 2019

Salome at Opera Australia

“A final word. The force of Lindstrom’s Salome was met not with immediate applause (though there was plenty afterward) but awed, almost shocked murmurs. When an artist can provoke such a reaction in a piece as familiar as this, that’s surely opera at its best.”

- Limelight, March 2019

Strauss Elektra at Wiener Staatsoper

“Lise Lindstrom for the first time as Elektra records a role of poetic depth: hard and yet with isolated human approaches. Cutting her timbre, with a touch of metallic sound that flares up when she sings into rage, but does not give way when she finally sees Orestes again.”

- Wiener Zeitung, October 2018

Strauss Elektra at Wiener Staatsoper

“Meier as well as the grandiose Lise Lindstrom (as Elektra) have the necessary power to bring their roles with immediacy.”

- Der Standard, October 2018

Turandot at San Diego Opera

“Lead dramatic soprano Lise Lindstrom has a voice made for the role of Turandot. She commanded attention, riding clearly above even forte orchestral passages and easily filling the sold-out Civic Center’s 3000-seat auditorium… Lindstrom, Tanner and Blue all received enthusiastic responses when they appeared for curtain calls”

- Broadway World, February 2018

Turandot at San Diego Opera

“Lise Lindstrom has been performing her signature title role in all of the world’s leading houses and it is easy to see why she is in demand. Ms. Lindstrom has all the stamina, range, and vocal quality required to succeed in this fiendishly difficult “sing.” Her searing upper range is steady and full without ever becoming acidic. Her low and middle ranges have a round, warm appeal that help humanize the icy princess to a certain degree. Lise is also a lovely presence on the stage, dramatically committed and exuding an unerring musicality.”

- Opera Today, March 2018

Turandot at San Diego Opera

“American soprano Lise Lindstrom has performed the role all over the world, and twice before in San Diego. Her haughty imperiousness, her strong, supple voice and her wide emotional range were impressive.”

- Times of San Diego, March 2018

Turandot at San Diego Opera

“Turandot is one of the most difficult roles in the dramatic soprano repertoire, but Lindstrom sings with clarity, nuance, theatrical fire and enough vocal power to easily fill the 3,000-seat Civic Theatre, which was sold out on opening night.”

- San Diego Tribune, February 2018

Marie at Theater an der Wien

“Lise Lindstrom was an impressive Marie, incapable of love, and yet possessing the drive to escape this state — vocally convincing in all nuances.”

- Nachrichten, October 17, 2017

Marie at Theater an der Wien

“Lise Lindstrom brings a capital reputation to her house debut as an intense singing-actress, with Turandot and Salome among her international conquests. Her Marie is equally credible, well meeting the vocal challenges and particular focus on the text involved, cold and resigned – and somehow beyond sympathy – with her fate already sealed. Another fine role in the soprano’s operatic stable.”

- The Opera Critic, October 21, 2017

Marie at Theater an der Wien

“Lindstrom’s magnificent vocal focus and expansive range cut through the orchestra, regardless of tessitura, while effectively portraying a self-destructive, harried, unhappy woman and a negligent mother.”

- BachTrack, October 18, 2017

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.”

-, 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.”

-, 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.”

-, 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.”

-, 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