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REVIEWS for Suzanne Rigden, Soprano

Suzanne Rigden, Lisa

Countess Maritza

Pacific Opera Victoria

Suzanne Rigden, soprano

Suzanne Rigden, Danica

Svadba, Montreal Opera

Suzanne Rigden as Danica

Suzanne Rigden, soprano

Mabel, Pirates of Penzance

Suzanne Rigden, soprano

Suzanne Rigden, soprano

Queen of the Fairies

Pacific Opera Victoria

Pacific Opera Victoria, Midsummer Night's Dream
Suzanne Rigden, Queen of the Fairies

Suzanne Rigden, soprano

Performing Dallapiccolla, Tanglewood

Suzanne Rigden performs Dallapiccolla

Suzanne Rigden, soprano

Adele, Vancouver Opera

Suzanne Rigden plays the maid Adele
Suzanne Rigden as Adele

Suzanne Rigden, soprano

Zerbinetta, Pacific Opera Victoria

Suzanne lights up the stage

Suzanne Rigden, soprano

Rosina, Merola, San Francisco

Suzanne's Rosina becomes the Statue of Liberty

Suzanne Rigden, soprano

Lady with Hand Mirror, Merola

Suzanne's high notes soar

Suzanne Rigden, soprano

Sophie in Werther, Opera de Montréal

Suzanne Rigden as Sophie
Suzanne Rigden, Sophie in Werther

Suzanne Rigden, soprano

First Spirit, Opera de Montréal


Suzanne Rigden, Violetta in La Traviata, Maritime Concert Opera

"In the Maritime Concert Opera (MCO) performance, Suzanne Rigden was a beautiful Violetta, clear, consistent, and totally convincing. Her coloratura was effortless and light. She was well-matched by a very attractive and seductive Alfredo, whose rich tenor was irresistible and would melt most hearts. Despite the acting constraints of concert opera, these two voices soared off the stage in exquisite musicality." 

(Daphne Levit, Opera Canada, 2023)


Suzanne Rigden, Lisa in Countess Maritza, Pacific Opera Victoria

"Suzanne Rigden, as Lisa, has a light, clear, sweet tone beautifully appropriate to the genre." 

(Kevin Bassana, Times Colonist, April 27, 2019)


Suzanne Rigden, Danica in Svadba, Montreal Opera

"The five supporting women—sopranos Suzanne Rigden and Chelsea Rus, and mezzos Rose Naggar-Tremblay, Caroline Gélinas, and Rachèle Tremblay—all deserve huge props for their excellent work in bringing Sokolovic’s difficult, unusual score to life. They achieved beautiful, clean-edged blend, while each bringing a distinct vocal flavour and personality to the fore when required. They are all natural, charming actors as well—there wasn’t one weak link in the group.  

(Natasha Gauthier, Opera Canada, 2018)


Suzanne Rigden, Gilda in Rigoletto, Maritime Concert Opera

"Suzanne Rigden sang Gilda's sweet and pure "Caro nome" with remarkable range and power, all perfectly controlled. She later revealed more of that force in "Tutte le feste al tempio."  

(Daphna Levit, Opera Canada, 2017)

Suzanne Rigden, in Voices Ten & Fab Five Instrumental, East Coast Classical, Wolfville, NS

"Rigden, a Dartmouth native, brought down the house that night with her brilliant Queen of the Night aria from Mozart's The Magic Flute." (Annapolis Valley Register, March 28, 2019)

Suzanne Rigden, Queen of the Night in Magic Flute, Opera Company of Middlebury

"There were two showstoppers - as written by Mozart. The Queen of the Night was delivered with brilliance, force and beauty by soprano Suzanne Rigden."  

(Jim Lowe, Times Argus, October 15, 2016)


Suzanne Rigden, 75th Anniversary Gala for Victoria Symphony and Pacific Opera Victoria

@serigden (now @SuzanneRigden) just absolutely killed Der Hölle Rache at our Gala with @PacificOperaVic. Wow those F's!  

(Victoria Symphony on Twitter @VicSymphony, April 10, 2016)


Suzanne Rigden, Queen of the Fairies, Midsummer Night's Dream, Pacific Opera Victoria

"Suzanne Rigden was forceful and regal as Tytania. Diamond-sharp coloratura glittered like the stars on her magnificent cloak." 

(Elizabeth Paterson, ReviewVancouver, 2016)

Suzanne Rigden, Mabel in Pirates of Penzance

""Suzanne Rigden, an opera singer making her Drayton debut, has a high, clear agile voice that clearly has no need of amplification. Besides bringing off Mabel’s highly-ornamented songs perfectly, Rigden also proves herself a fine comic actor."  

(Christopher Hoile from Stage Door)


"Soprano Suzanne Rigden excels as Mabel. Her rich operatic voice fills the theatre."  (


"Everyone is good with considerable vocal skills yet there is a standout here: Suzanne Rigden as Mabel in her Drayton debut. While other cast members have musical theatre voices, Rigden is pure opera. She has crystal-clear vocals, which led her to be named one of CBC's Hot 30 Under 30 Classical Musicians." 


"Up‐and‐coming opera singer and Drayton Entertainment newcomer Suzanne Rigden holds her own as the beautiful and sweet Mabel, who quickly falls in love with Frederic. She instantly wins the audience over with her fantastic soprano voice, which is displayed to extraordinary effect in the popular song “Poor Wandering One.”

(Drayton Entertainment) 

"As director, Mustakas adds references to other musicals in two ways.  In the first and more subtle method, Mustakas will suddenly have a scene in Pirates flash-forward to a similar scene in a later musical.  In her vocal showpiece “Poor wand’ring one”,  Suzanne Rigden as Mabel interpolates some of the coloratura fireworks of Cunegonde’s “Glitter and be Gay” from Leonard Bernstein’s Candide(1956) – one coloratura showcase thus anticipating the other." (Christopher Hoile, Reviews 2015)


Suzanne Rigden, CBC's 30 Hot Classical Musicians Under 30

"Hot because: She sings a wicked Queen of the Night and has stage presence to burn. In February, she stole the show as Adele in Vancouver Opera's Die Fledermaus."  



Suzanne Rigden, Tanglewood Fellow Performances

"Soprano Suzanne Rigden (who also provided the English program translations) has a lithe and athletic voice that easily encompassed Dallapiccolla’s complex vocal lines, executing the stratospheric ascents without undue effort."  

(Brian Schuth,

"A little over a year ago, the Tanglewood concert that began with my [James Primosch] Dark the Star continued with an all-too-rare performance of Dallapiccola’s Concerto per la notte di Natale dell’anno 1956, for soprano and a chamber orchestra of 17 players. John Harbison ably conducted, and the extraordinary soprano was Suzanne Rigden. Thanks to her formidable musicianship and gleaming voice, Dallapiccola’s angular lyricism came across powerfully." 

(James Primosch, composer, Sept 6, 2016)

"Passion, grace, and impeccably articulated phrasing distinguished Suzanne Rigden’s performance during an evening of songs from the World War I era. Her becoming style was matched perfectly to the subtle and nuanced playing of her fellow Canadian, pianist, Rich Coburn." 

(Carolyn and Eli Newberger, The Berkshire Edge, Oct 3, 2015)


Suzanne Rigden, in her Quarter-Finals Recital at the Montreal International Voice Compeition

"After dazzling the audience with selections by Strauss, Rodrigo, Argento, Thomas and Mozart — her Queen of the Night aria was killer — Canadian soprano Suzanne Rigden took a risk that totally paid off, singing Isabelle Aboulker's hilarious show-stopper "Je t'aime," subtitled "Vocalise amoureuse pour soprano éperdue" (Romantic vocalise for distraught soprano.) It went over tremendously well with the largely francophone audience."  

(CBC Music bloggers at Montreal International Voice Competition)


Suzanne Rigden, as Adele in Vancouver Opera's Die Fledermaus

"Suzanne Rigden positively sparkled as a perky and characterful Adele.... Suzanne Rigden as Adele sang with great élan throughout, and delivered her Act 2 laughing aria, and Act 3 turn as Olga, with virtuosic skill, handling the fioritura brilliantly and showing us what a trill should sound like." 

(Harvey De Roo, Vancouver Classical Music)


"... The part of her savvy, cynical maid Adele gives Suzanne Rigden (another new face) a chance to play the perfect high-voice ingenue."

(David Gordon Duke from The Vancouver Sun)


"The performances of the two leading sopranos, Joyce El-Khoury (Rosalinde) and Suzanne Rigden (Adele) were, in my opinion, the highlights of the opera. Both portrayed their roles exceptionally well, complementing not only their rich and melodic voices, but each other as well."  

(Ian Dives for Viva VanCity)


"Also in her VO debut, soprano Suzanne Rigden brought an agile and graceful coloratura as well as an impish coquettishness to the role of Adele and played her as a delightfully shrewd and feisty survivor to win huge audience empathy and applause at curtain." 

(Opera Canada)


"My outstanding pick of the night has to be Suzanne Rigden’s Adele, who was not only a fine singer, but flirtatious and very funny with a great sense of comedic timing. She stole the stage."

(Cathy Browne from Vancity Buzz)


"Soprano Suzanne Rigden, in her VO debut as Adele, possesses a lithe and delicate coloratura, and an impish coquettishness."

(Jessica Werb from The Georgia Straight)


"Suzanne Rigden as Adele, captured everyone’s heart within the first few seconds; her operatic laughter, squeals, and giggles could be understood in any language. Her role did much to keep the laughs rolling throughout the evening."  

(Boating Vancouver)


"Playing the part of Adele, her chambermaid, the Canadian soprano Suzanne Rigden received kudos from the audience for her effervescent approach and her strong and confident singing of the most striking coloratura parts."

Carlos Javier López from Opera World)


"One way to be the centre of attention is by singing "Mein Herr Marquis" and knocking everyone's socks off! @SuzanneRigden" 

(Vancouver Opera on Twitter)


Suzanne Rigden, as Zerbinetta in Pacific Opera Victoria's Ariadne auf Naxos, Victoria, BC

"Suzanne Rigden, pert and personable as the worldly flirt Zerbinetta, has a gleaming, cleanly articulate coloratura sound, and she nails her huge, dazzlingly virtuosic recitative and aria, which ranges up to high E." 

(Kevin Bazzana - Times Colonist, February 2014)


​"... the sassy Zerbinetta (soprano Suzanne Rigden, who nailed the high E), ... could give classes in how to sing well while bringing a character to life with a gesture or a glance."​  

(Robin J. Miller - Opera Canada, Spring 2014)

"To sing the acrobatic coloratura role of Zerbinetta, the company employed a recent alumna of Montreal Opera’s Atelier lyrique, the girlish sounding, technically formidable Suzanne Rigden." 

(William Littler, music columnist,, March 7, 2014)


Suzanne Rigden, as Rosina in Merola Opera's Il Barbiere di Seviglia, San Francisco

"As Rosina, soprano Suzanne Rigden revealed a remarkable gift for stratospheric coloratura.  She larded her showpiece aria, "Una voce poco fa," with a wealth of impeccable passagework that started high and then just kept going higher, with pointed, note-perfect placement."  

(Joshua Cosman, San Francisco Chronicle, August 2011)


"Rigden has a vivid and flexible soprano of considerable size, and she flung her way into those upper upper register notes with the ease of an aerialist born to fly.  In mid register her voice offered a youthful sweetness."

(Jaime Robles in, August 2011)

"Suzanne Rigden, a soprano Rosina, has a fearsome coloratura. Hearing her pick off all those high notes was like watching a bowler make a strike every time." 

(Axel Feldman, Not for Fun Only, "Merola Opera: Barbiere, 1st Cast," August 2011)

"Nary a note of ornamentation was missing from Suzanne Ridgen’s rivulets of notes pulsating forward giving wit and intelligence to a lovely Rosina."

"... none holds a candle to Suzanne Ridgen’s lovely Rosina, especially when she’s got forks stuck in her hair to emulate the rays of the Statue of Liberty while holding a candleabra as Liberty’s torch..."

(Cy Ashley Webb, August 2011)


"Suzanne Rigden’s Rosina jumped through all of her virtuoso hoops without ever showing a sign of strain."

(Stephen Smoliar, SF Classical Music Examiner, August 5, 2011)


"Suzanne Rigden (Rosina) has a dizzying ability to sing high notes, her coloratura technique is impressive."

"Suzanne Rigden ripped those coloratura notes (atop a cluttered table no less) with beauty." 

(The Opera Tattler, August 2011)

"The lovely Suzanne Rigden led the show as Rosina.  Her bright, clear soprano accurately spanned the role's wide range as she projected the girl's lively, defiant character with real conviction.  She sang with impressive accomplishment and genuine promise, and found a warm reception here." 

(John Bender, Opera Canada, Winter 2011)


"Rigden went on to have an excellent overall night, with not only strong high-notes but a performance that reminded me of Reese Witherspoon's better comedic outings." 


Suzanne Rigden, as Girl with a Hand Mirror in Merola Opera's Postcard from Morocco

"Argento's score provides the vocalists with many opportunities for stunning virtuoso turns.  We have a "Lady with a Hand Mirror" given a coloratura soprano part, executed last night by Suzanne Rigden with dazzling panache." 

(Stephen Smoliar, Examiner, July 2012)


Suzanne Rigden competed in the Metropolitan Opera Competition in 2009, in which she won the district round in Vancouver, BC, and then at the Regional round in Seattle, Washington, won two awards. Reviewer Philippa Kiraly called her “Most spectacular … on the program. Suzanne Rigden from Vancouver, B.C., sang two of the highest and most acrobatic arias in the repertoire - the Queen of the Night’s aria from Mozart’s “Die Zauberflote” and the Doll Song from Offenbach’s “Les Contes d’Hoffmann.” A fierce and vengeful queen in the first, she became a wound up doll with gestures which much amused the audience in the second. Her intonation in both arias was just about perfect (and very difficult to achieve), and she won both the other encouragement prize and the People’s Choice award​​."

(Philippa Kiraly)

Suzanne Rigden, Soprano Soloist in Handel's Messiah, Orchestra London & Pro Musica

"Suzanne Rigden gave a poised performance and was especially powerful in her solo movement "I Know That My Redeemer Liveth."  Her sound was bright and flexible while she maintained excellent diction."  (Marina Opitz, Ontario Arts Review, December 2011)


Suzanne Rigden as a member of l'Atelier lyrique de l'Opera de Montreal

Reste à donner le nom de la perle de l'après-midi: la soprano colorature Suzanne Rigden, charme fou, présence joviale et assurance étonnante. Ses vocalises de la Reine de la Nuit étaient comme des flèches, avec un placement de voix parfait. Son Olympia fut fort drôle et juste."  

(Le Devoir par Christophe Huss, décembre 2009)

Suzanne Rigden, Noël à l'opéra, Orchestre Metropolitain, Montreal

"Suzanne Rigden, soprano coloratura qui a donné presque à la perfection les notes suraiguës de la Reine de la nuit et de la poupée mécanique Olympia"

(Claude Gingras, La Presse, 14 décembre 2009)

"Suzanne Rigden, with her New York PONY debut in the role of Morgana, sang confidently, her gorgeous high notes ringing with a special spin.  Her coloratura moved easily, ... her acting was concise and believable." (Kate Williams, New York Opera Review, "Astroturf Alcina," Monday, March 21, 2011)


"Suzanne Rigden has a bright, clear high soprano, which she used to advantage, adding extra appoggiaturas in Morgana's aria from Alcina"

(La Scena Musicale, April 8, 2011)


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