Vienna, City of Song
Lyric Fest
October, 2014
"Light-lyric soprano Erica Miller...produced some lovely singing, especially in quieter moments and in unforced, effortless high notes. She was at her best, and that was outstanding, in what was theoretically the most difficult repertoire: the Lieder by Webern, Berg, and Schoenberg, including Schoenberg’s 1909 “Das Buch der hängenden Gärten."
—Susan Gould, Broad Street Review (full review)
Queen of the Night / Mozart's The Magic Flute
Opera Birmingham
March, 2013
"Erica Miller delivered an agile coloratura in a first act aria, and acrobatic arpeggios in the signature 'Queen of the Night' aria."
—Michael Huebner, The Birmingham News (full review)
Ännchen / Weber's Der Freischütz
Macau International Music Festival
November, 2011
"Erica Miller was an ideal Ännchen vocally and dramatically."
—Satoshi Kyo, Paying Patron Perspective (full review)
Marie / Donizetti's Daughter of the Regiment
Opera in the Heights
September, 2011
"And what a stunning cast: Coloratura Erica Miller sings Marie as if it had been written for her. She sails through those treacherous roulades and filigreed passages for which Donizetti was so famed and then, slowing down, wraps her supple voice around those honeyed tunes of romance. She's also an agile comedian, with her hairs in tufts and sporting a corset, she's an appropriate tough girl."
—D.L. Groover, Houston Press (full review)
"Soprano Erica Miller as Marie, mesmerizes us and takes us to that place of coloratura heaven where few have trod. Her bright and shining instrument so powerfully and profoundly touches us, that all we can do is wait until the end of every aria she conquers so we can scream 'Brava!' Ms. Miller finds the center of Marie and runs with her, taking us with her as her life changes drastically."
—Buzz Belmont, Houston Chronicle (full review)
"In the title role of Marie, Erica Miller’s coloratura was given multiple chances to shine. Miller sang her demanding arias with impressive technique and style, especially given the fact that her Marie was very physical, constantly moving around the stage."
—Robin Lowe, Opera Pulse (full review)
"Erica Miller, soprano, as Marie gave it her all, singing with an incredibly agile, soaringly beautiful, clear voice, with more than just a hint of laughter, she also managed to infuse comic pouting; all in all, a veritable show of vocal fireworks!"
—ArtandHockey.blogspot.com (full review)
Aspasia / Mozart's Mitridate
Little Opera Theatre of New York
May, 2011
"Erica Miller's Aspasia was imposingly regal; it didn't hurt that she has a stature and figure that would have made her an apt model for a statue of Juno. Mostly, however, she commanded with a full, solid soprano; I personally found her most convincing in her passionate, grieving, never-quite-perfect resignation, e.g. 'Nel grave tormento,' 'Pallid'ombre.' "
—Lucy Barnhouse, Opera Obsession (full review)
"Erica Miller's powerful soprano negotiated all of Aspasia's passagework nimbly and rose to her many high notes with a bit of an edge but without undue shrillness."
—John Deredita, Opera-L (full review)
"The other two women's roles--Sifare, the good...prince, and Aspasia, the main squeeze...were beautifully sung by mezzo Serena Benedetti and soprano Erica Miller. Both roles are written with unforgiving coloratura and high notes, and both women sang and acted them admirably. Both...gave beautiful performances with the literally forty-eleven other arias each had....Their duet "Se viver non degg’io" was one of the treats of the evening."
—David Browning, Taminophile (full review)
Lyric Fest
October, 2014
"Light-lyric soprano Erica Miller...produced some lovely singing, especially in quieter moments and in unforced, effortless high notes. She was at her best, and that was outstanding, in what was theoretically the most difficult repertoire: the Lieder by Webern, Berg, and Schoenberg, including Schoenberg’s 1909 “Das Buch der hängenden Gärten."
—Susan Gould, Broad Street Review (full review)
Queen of the Night / Mozart's The Magic Flute
Opera Birmingham
March, 2013
"Erica Miller delivered an agile coloratura in a first act aria, and acrobatic arpeggios in the signature 'Queen of the Night' aria."
—Michael Huebner, The Birmingham News (full review)
Ännchen / Weber's Der Freischütz
Macau International Music Festival
November, 2011
"Erica Miller was an ideal Ännchen vocally and dramatically."
—Satoshi Kyo, Paying Patron Perspective (full review)
Marie / Donizetti's Daughter of the Regiment
Opera in the Heights
September, 2011
"And what a stunning cast: Coloratura Erica Miller sings Marie as if it had been written for her. She sails through those treacherous roulades and filigreed passages for which Donizetti was so famed and then, slowing down, wraps her supple voice around those honeyed tunes of romance. She's also an agile comedian, with her hairs in tufts and sporting a corset, she's an appropriate tough girl."
—D.L. Groover, Houston Press (full review)
"Soprano Erica Miller as Marie, mesmerizes us and takes us to that place of coloratura heaven where few have trod. Her bright and shining instrument so powerfully and profoundly touches us, that all we can do is wait until the end of every aria she conquers so we can scream 'Brava!' Ms. Miller finds the center of Marie and runs with her, taking us with her as her life changes drastically."
—Buzz Belmont, Houston Chronicle (full review)
"In the title role of Marie, Erica Miller’s coloratura was given multiple chances to shine. Miller sang her demanding arias with impressive technique and style, especially given the fact that her Marie was very physical, constantly moving around the stage."
—Robin Lowe, Opera Pulse (full review)
"Erica Miller, soprano, as Marie gave it her all, singing with an incredibly agile, soaringly beautiful, clear voice, with more than just a hint of laughter, she also managed to infuse comic pouting; all in all, a veritable show of vocal fireworks!"
—ArtandHockey.blogspot.com (full review)
Aspasia / Mozart's Mitridate
Little Opera Theatre of New York
May, 2011
"Erica Miller's Aspasia was imposingly regal; it didn't hurt that she has a stature and figure that would have made her an apt model for a statue of Juno. Mostly, however, she commanded with a full, solid soprano; I personally found her most convincing in her passionate, grieving, never-quite-perfect resignation, e.g. 'Nel grave tormento,' 'Pallid'ombre.' "
—Lucy Barnhouse, Opera Obsession (full review)
"Erica Miller's powerful soprano negotiated all of Aspasia's passagework nimbly and rose to her many high notes with a bit of an edge but without undue shrillness."
—John Deredita, Opera-L (full review)
"The other two women's roles--Sifare, the good...prince, and Aspasia, the main squeeze...were beautifully sung by mezzo Serena Benedetti and soprano Erica Miller. Both roles are written with unforgiving coloratura and high notes, and both women sang and acted them admirably. Both...gave beautiful performances with the literally forty-eleven other arias each had....Their duet "Se viver non degg’io" was one of the treats of the evening."
—David Browning, Taminophile (full review)
