Turandot with De Nederlandse Opera

“…Lise Lindstrom…a striking blonde and unusually svelte for Puccini’s vocally challenging Principessa, wields a well-focused, silvery instrument, capable of penetrating the thickest orchestral underlay…” “Lindstrom is a fearless and tireless singer, so her ubiquity in the role is hardly a surprise…she is a gift to directors who want a Turandot with Hollywood looks.”
Opera, August 1, 2010

Tosca with Glimmerglass Opera

"The production sports an American trio of charismatic voices. Soprano Lise Lindstrom as Tosca has a powerful voice that soars into the stratosphere. There is a sharpness there – not the shrill, but the thrilling kind."
The Globe and Mail, July 28, 2010

"The soprano Lise Lindstrom brought a cool allure to the title role, her focused and steely voice flaring into palpable fire when it was called for."
The New York Times, August 9, 2010

Der Fliegende Holländer with New Orleans Opera

“As Senta, rising American soprano Lise Lindstrom, also making her New Orleans debut, offered everything one could want in this challenging role — vocal power to spare, gleaming beauty of tone and flawless intonation. A strikingly handsome woman, Lindstrom gave a truly world-class performance. It is not often that one hears dramatic power combined with such a fresh, youthful-sounding soprano. Lindstrom's voice contrasted wonderfully with that of Nikitin; as a team, they established totally believable onstage chemistry.”
Opera News, March 2010

"In her unforgettable performance as Senta, soprano Lise Lindstrom emerged as the brightest shining star of the night. With a highly praised Turandot recently under her belt at the Met, Lindstrom’s readiness for the role was hardly in question. From her opening wordless vocalise in the second act, however, it was immediately clear that the audience was in for a special night. This is a voice to behold – powerful to extend to the farthest reaches of the theater with seeming ease, yet with warmth that pulls the audience onto the stage with her. In a role in which power often translates into stridency, Lindstrom’s tone is sublimely beautiful and luxuriant.”
Times-Picayune, March 21, 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, though not huge, gleamed like a blue-white laser up to high C. As the Chinese princess whose beauty tempts dozens of men to risk their lives, 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

“Her voice showed at once its commanding timbre, aimed with laser sharpness, scanning the score's craggy peaks without appearing muscle-bound or pushed. Her security in the strenuous "In questa Reggia" (Act II) was matched, in "Dal primo pianto" (Act III), by equal ability to show the woman behind the mask, inwardly fearful of Prince Calàf's alluring self-assurance.”
Opera News October, 2009

“But it was also love at first sight for the Metropolitan Opera audience when they saw – and especially heard – the beautiful and talented soprano, Lise Lindstrom, in her unscheduled Met debut on opening night. Maria Guleghina was unwell, and Ms. Lindstrom, with scant notice, took her place. I attended a subsequent performance but the reaction seemed to have been much the same. Lindstrom was magnificent vocally and dramatically. And the audience was unstinting in its appreciation."
Concertonet.com, October 28, 2009

Turandot with the Savonlinna Opera Festival

“She is a fearless singer though and delivered In questa reggia with impressive power.”
Seen and Heard International, July 23, 2009

Suor Angelica with Opera Tampa

“Lindstrom fashioned a poised yet wrenching portrayal of the woman who had an illegitimate child and went into a convent for redemption. Angelica's encounter with the stern Princess (Mariana Karpatova) was heartbreaking. Lindstrom sang her despairing aria, Senza mamma, with deep passion. There was a slight metallic edge to her soprano that gave it tremendous power. Opera singers are always measured against the glorious past, and Lindstrom must have felt some pressure Friday, because the great Italian prima donna, Renata Scotto, was there to receive the first Anton Coppola Excellence in the Arts Award. In the 1970s and '80s, Scotto was a definitive Angelica, a model of pathos and drama. With Lindstrom's affecting performance, it was wonderful to see the tradition passed on so well.”
St. Petersburg Times, March 2, 2009

Germania DVD with Deutsche Oper Berlin

“Lise Lindstrom throws herself into the role of guilt-ridden Ricke with a bright, silvery sheen.”

Opera News, March 2009

Un Ballo in Maschera with Des Moines Metro Opera

“The crowning laurel went to Lise Lindstrom, whose juicy, voluminous soprano soared through Amelia's "Ma dall'arido" without a hint of strain.”
Opera News, October 2008

Der Fliegende Holländer with Opera Grand Rapids

“A stellar cast of soloists kept the audience of 1,056 on the edge of its seats. Particularly impressive were Lise Lindstrom as Senta, last heard in Grand Rapids in 2005 in the title role of "Turandot," and Richard Paul Fink as the Dutchman, both of whom combine impressive vocal power with a subtle sense for the nuances of their characters. Senta's Act II ballad was sung with ravishing intensity.”
The Grand Rapids Press, May 3, 2008

Turandot with Orlando Opera Company

“Soprano Lise Lindstrom portrayed her Turandot with an appropriate icy imperiousness that gradually melted to reveal a woman of real passion. Her voice is a beautiful, steely one, with high notes that shot through the acoustical opacity of the Carr auditorium like lasers. She sounded as fresh at the end as she had at the beginning.”
Opera News, April 2008

Turandot with Kentucky Opera

"Lise Lindstrom's Turandot projected not ice but a soft-grained, lustrous sound, soaring over the chorus with brilliance. This was a Turandot who could act as well as sing, slyly revealing the woman behind the public mask.”
Opera News, September 2007

Turandot with Cleveland Opera

“But Turandot stands or falls by the title role. Lise Lindstrom is an attractive, tall soprano who possesses a voice of gleaming intensity. She built “In questa reggia” to a powerful climax, every laser-like high note a brilliant, rock-solid monument to her voice and technique. The warmth came through, too, in the caressing of phrase after phrase, both in that aria and in the final duet. Her carefully conceived transformation from ice princess to woman in love was riveting. The treacherous role was sung with nary a misstep, vocally or dramatically. It was astonishing to see Lindstrom sail through phrases with no visible or audible trace of their difficulty; she is an artist whose career should soar just as surely as her high Cs did in this production.”
Opera News, January 2006

“Lise Lindstrom sang the title role with fearless brilliance, her gleaming soprano cutting through every orchestral texture and her pitch dead center, even in the stratosphere. Unlike some Turandots, Lindstrom conveys the icy princess' vulnerable side. Her soft utterance of "love" in response to Liu was one of the night's most moving moments.”
Cleveland Plain Dealer, April 2006

Les Contes d’Hoffman with Des Moines Metro Opera

“...the statuesque Lise Lindstrom was a delicious Giulietta both in voice and seductiveness.”
Des Moines Register, July 2005

The Consul with Arizona Opera

“There was not the slightest weakness in Saturday's cast in Tucson, with special mention due to the heartbreaking characterization, both vocal and dramatic, by Lise Lindstrom as Magda, and the strong vocal exploits of husband John, sung by Michael Chioldi.”
Arizona Republic, January 2005

Ariadne auf Naxos with Des Moines Metro Opera

"The clash of high and low art was further accentuated by the spry attractiveness of the comedians (especially the powerhouse Zerbinetta of Jane Redding) and the stodgy solemnity of the tragedians (Lise Lindstrom’s glowing Ariadne and Anthony Pulgram’s valiant Bacchus)."
Opera News, October 2004

"But it is for the love of writing for the female voice that Richard Strauss is immortalized. These merits are made clear by fine performances by the three female leading ladies. One would be hard-pressed to find a finer trio of female voices anywhere. As Ariadne, soprano Lise Lindstrom brings a regal power to the stage, capable of expressing great sorrows and transcendent joys"
Des Moines Register, July 2004

Turandot with Mobile Opera

"Best to start with the two women who garnered much of the applause during Thursday's opening performance: soprano Lise Lindstrom as the vengeful princess whose gaze (and heart) is as cold as the pale moon over the Forbidden City...Lindstrom's [singing] has a piercing, laser-like quality that is at once chilling and seductive. If you could see her voice, it would blind you and leave a sheen of ice on your forehead… The soprano met and conquered the role's daunting climaxes and handled the lyrical passages with the poise of a pro. Reduced to stage time and Big Moments, the role provides little dramatically, but Lindstrom made the most of her debut as Princess Turandot
Mobile Register, October 2003