In the Press

"...Giulietta, here the vocally plush and lovely mezzo-soprano Irene Roberts."

− Anthony Tommasini, New York Times

"As Giulietta, mezzo-soprano Roberts dazzled in her San Francisco Opera debut; what a plush, opulent voice she has."

− Richard Scheinen, San Jose Mercury News

"Irene Roberts excelled as Siebel, offering a rich, burnished tone and colorful nuances, both musical and dramatic, that helped flesh out the character greatly."

− Tim Smith, Opera News

San Francisco Opera | Les Contes d'Hoffmann

The New York Times | June 24, 2013 by Anthony Tommasini
“…we meet the courtesan Giulietta, here the vocally plush and lovely mezzo-soprano Irene Roberts.”

San Jose Mercury News | June 6, 2013 by Richard Scheinin
“As Giulietta, mezzo-soprano Roberts dazzled in her company debut; what a plush, opulent voice she has.”

San Francisco Chronicle | June 6, 2013 by Joshua Kosman
“Mezzo-soprano Irene Roberts gave a fine, tonally resplendent company debut as Giulietta”

Baltimore Lyric Opera | Faust

Opera News | April 20, 2012 by Tim Smith
“Irene Roberts excelled as Siébel, offering a rich, burnished tone and colorful nuances, both musical and dramatic, that helped flesh out the character greatly.”

Fresno Grand Opera | Carmen

Fresno Bee | January 30, 2012 by Donald Munro
“Irene Roberts provided much of the sizzle in Fresno Grand Opera’s accomplished production of “Carmen” which steamed up the Saroyan Theatre in two performances over the weekend. The mezzo soprano, in fine voice, was as sultry as all get-out… With her trademark red skirts swishing and those eagerly anticipated castanets clicking, her body language was sexy as all get-out. But there was much more to her characterization than mere lusty temptress, however. She found a hard-edged core to her character that felt positively empowering. Even as Carmen marched toward her tragic end, she went down fighting. All of which helped make this “Carmen” an intriguing blend of sex and steely determination. It managed to be both hot and downright chilly… it was first-rate.” 

Palm Beach Opera | Madama Butterfly

Palm Beach Post | December 22, 2011 by Greg Stepanich
“At least two of the supporting roles were exceptionally fine (and audience approval was clear at curtain)… mezzo-soprano Irene Roberts was excellent as Suzuki, with a commanding, dark voice that was every bit Borsi’s equal, and not just during their lovely take on the Flower Duet.”

Palm Beach Daily News | December 17, 2011 by Márcio Bezerra
“Irene Roberts as Suzuki and Michael Chioldi as the American consul Sharpless were both convincing dramatically and vocally, deserving well the acclaim they received from the audience.”

South Florida Classical Review | December 17, 2011 by David Fleshler
“Among the other roles, there were two standouts. The mezzo-soprano Irene Roberts brought an opulent voice to the role of Suzuki, exuding quiet concern for Cio-Cio San, as in the second act prayer.”

ConcertoNet | December 17, 2011 by Jeff Haller
“Irene Roberts is an especially dignified Suzuki with a beautifully rounded tone that it is always on target.”

Palm Beach Arts Paper | December 17, 2011 by Greg Stepanich
“Mezzo-soprano Irene Roberts was just as good as Suzuki, blending beautifully with Borsi during the petals scene of Act II, and singing with force and command in all of her appearances… Roberts has a large, dark instrument that gave Suzuki poignancy and heft, and her movements across the stage perfectly underlined the nature of her character’s relationship to Cio-Cio San: a servant, but not servile, and in the end, a loving friend. Friday night’s audience gave Chioldi and Roberts warm and well-deserved applause.”

North Carolina Opera | Faust

CVNC | April 28, 2011 by William Thomas Walker
“Mezzo-soprano Irene Roberts was totally believable as Siebel, the friend of Valentin who is shyly in love with Marguerite. Her singing of “Faites-lui mes aveux” (“Lovely flowers”) was lovely and pure.”

News & Observer | April 30, 2011 by Roy C. Dicks
“Mezzo Irene Roberts sang with perky charm as Marguerite’s young suitor, Sièbel.”

Palm Beach Opera | Orfeo

Palm Beach Daily News | January 22, 2011 by R. Spencer Butler
“Mezzo-soprano Irene Roberts as Amore showed a full throated and vivid take on her role as the guide in Orfeo’s journey to Hades and back.”

South Florida Classical Review | January 22, 2011 by David Flescher
“In the smaller role of Amore, or Cupid, the mezzo-soprano Irene Roberts, who sang from a raised position behind the orchestra, rounded out the cast with a rich, full voice that communicated compassion for Orfeo.”

Palm Beach Arts Paper | January 22, 2011 by Greg Stepanich
“Roberts sang her brief role with conviction and skill, revealing the same darkly hued, forceful voice audiences heard in her Mercédès in last season’s Carmen and in a Meyerbeer aria in last year’s Grand Finals. One hopes we’ll continue to see this former Young Artist return regularly.”

Palm Beach Opera 41st Annual Vocal Competition

Palm Beach Arts Paper | April 26, 2010 by Greg Stepanich
“One of the most impressive moments came with the second-prize advanced division winner, mezzo-soprano Irene Roberts. It seems to me that Roberts’ voice has blossomed over the season, and is now in a powerfully rich phase, with dark coloring and serious lung heft to boot. The Sacramento, Calif., native did a smart thing with her choice of aria: Nobles seigneurs, salut!… it’s a well constructed piece that allows the singer to show off some vocal display and long legato phrases, which Roberts did very well. Towards the end, coming off her trill, she demonstrated enviable breath control by holding the final note over into the recurrence of the aria’s main melody without stopping for air.”

South Florida Classical Review | April 26, 2010 by Lawrence Budmen
“Irene Roberts unleashed a plush, big-boned mezzo wedded to impeccable Gallic style and awesome vocal dexterity in an aria from Meyerbeer’s Les Huguenots, taking the advanced division second prize.”

Palm Beach Daily News | April 26, 2010 by R. Spencer Butler
“The mezzo’s rich tonality was accompanied by a fine flexibility in the coloratura passages. Her voice embraced the melodic line with keen understanding.” 

Palm Beach Opera | Carmen

Palm Beach Daily News | April 10, 2010 by R. Spencer Butler
“…Irene Roberts, mezzo soprano as Mercédès, sang brightly with charm as Carmen’s companions…”

Palm Beach Post | April 10, 2010 by Greg Stepanich
“Soprano Debra Stanley and mezzo Irene Roberts made a good team as Frasquita and Mercédès, respectively, with Roberts in particular offering a voice of rich quality.”

Palm Beach Arts Paper | April 13, 2010 by Rex Hearn
“…and Irene Roberts’ lovely mezzo stood out clearly as Mercédès.” 

Palm Beach Opera | Don Giovanni

Palm Beach Arts Paper | March 01, 2010 by Rex Hearn
“…Irene Roberts, a Palm Beach Opera Young Artist, was delightful as Zerlina, unsuccessfully seduced by the Don. Her Batti, batti aria was sweetly sung to her betrothed, Masetto…” 

Palm Beach Opera | Otello

Palm Beach Post | January 23, 2010 by Greg Stepanich
“Mezzo-soprano Irene Roberts, a member of the Palm Beach Opera’s Young Artist program, sang respectably as Emilia, with a voice of good size and roundness.” 

Townsend Opera | Il Barbiere di Siviglia

The Modesto Bee | November 16, 2009 by Lisa Millegan
“Mezzo-soprano Irene Roberts is a delight as Rosina… Roberts handles all the vocal pyrotechnics and nails the high notes. She is lovely and obviously enjoys playing the princess.” 

Opera Western Reserve | Madama Butterfly

Cool Cleveland | November 10, 2008 by Kelly Ferjutz
“In the role of her maid Suzuki, recent CIM graduate Irene Roberts was excellent, accurately portraying subservience and protectiveness of her young mistress.”