Lucia di Lammermoor
“Soprano Christine Lyons inhabits Lucia in a career-making performance, combining raw passion with the beauty of tone demanded by the “bel canto” style (literally, “beautiful singing”) of early 19th-century Italian opera.
Musical highlights include… Lyons’ note-perfect and emotionally shattering Act III mad scene, accompanied by the eerie sound of the rarely heard glass harmonica, invented in 1761 by Benjamin Franklin and skillfully played by Dennis James.”
- In the Spotlight
“Christine Lyons was a fascinating, dramatically compelling Lucia. Still numb from mourning her mother’s recent death, she can barely comprehend the demands her brother places on her. Lyons’s Lucia became flesh and blood in her scenes with Edgardo, when her voice filled with radiance and warmth, particularly in their Act I duet, ‘Verranno a te sull’aure’. In the ‘Mad Scene’, Lyons expressed Lucia’s escape from the horrors of her fate and actions with harrowing emotion, embellishing it with all the arrows in her bel canto quiver: trills, mordents, turns, runs and cadenzas that were no mere technical display but expressions of true emotion.”
- Seen and Heard International
“Soprano Christine Lyons, playing Lucia, is as gifted at vocal ornamentation and birdlike trills as she is in her dramatic ability, especially during the mad scene. Ornamentation is not just art for Lucia, it is, according to Cori Ellison, “her emotional thesis statement.” In her duets with the armonica and harp, Lyons matches the instruments note for note. And as highlighted by Loy, Lucia’s character is strong, despite the trauma that she suffers: her grief, anger and determination can be heard in Lyons’ breathtakingly expressive voice.”
- Berkshire On Stage
“Lyons’ soprano was as iridescent and exquisitely delicate as fine china, breathing high notes into existence almost as effortlessly as she deployed floating coloratura that shimmered like sunlight on a stream.”
- Berkshire Eagle
La Straniera
“standouts included soprano Christine Lyons, whose rich, ample voice sailed through the demanding title role with power and poise.”
- Classical Voice America
“Her dramatically charged portrayal of Alaide; Lyons excelled in her blistering final cabaletta.”
- Opera Magazine London
“her voice blossoming down into its depths.”
- The New York Times
“Intense and soulful, this was a tragic “Straniera” from the start, her final aria “Sono all'ara” crowning a performance of real stature.”
- Musical America
“The mysterious Alaide was soprano Christine Lyons, with strength and a fearless attack at both ends of her voice...her final scene created an uproar.”
- Bachtrak
Norma
“[Norma] was led by soprano Christine Lyons, who looked and sounded exquisite in the title role. She has the presence and dramatic conviction for the priestess, and excellent technique; she held the audience’s attention and sympathy.”
- St. Louis Today
“Norma was Maria Callas's favorite showcase for her legendary voice. Renata Scotto once called the role of Norma ‘the Everest of opera.’ Well, Soprano Christine Lyons climbs that peak with banners flying. She's a true virtuosa, dazzling us with her mastery of all those Bel Canto coloratura fireworks-all the runs, trills and staccato arpeggios and cadenzas that decorate the long, free-ranging melody lines.”
- Broadway World
“A superior performance by soprano Christine Lyons dominates Winter Opera Saint Louis’ strong rendition of Vincenzo Bellini’s bel canto opera, Norma. Lyons, in her Winter Opera debut, shows considerable power in her lush, lingering soprano, which elevates the production considerably. Lyons’ acting is polished as well, making Norma a compelling and tragic figure, a formidable force to be reckoned with by Pollione, Oroveso and Adalgisa at different times in the two-act, three-hour presentation.”
- Ladue News
“She turns in a mesmerizing performance.”
- KDHX
I Capuleti e I Montecchi
“Christine Lyons as Giulietta was spellbinding, and showed impressive range in her solo turns. After meeting Romeo in her room and they pledge their love for each other, Ms. Lyons’ voice, again highlighting her and range and interpretation, is light, waltzing and playful, singing the aria with rosy, agile coloratura. In short, Lyons is exquisite.”
-Cape Charles Mirror
Tancredi
“Christine Lyons, was a revelation.... Lyons’ quick vibrato and complex timbre brought greater emotional immediacy to Amenaide’s conflict between duty and desire.... [she] handled the florid passages with musicianship and flair.”
Gay City News
“The Amenaide was Christine Lyons, displaying a generously scaled lyric soprano, her rapid vibrato adding lushness to the tone.”
Opera News
L’Elisir d’amore
“As Adina... her lustrous soprano won us over from the start.”
- Voce di Meche
Don Pasquale
“Christine Lyons triumphs in the role of Norina. She’s effortlessly brilliant, vivacious, clever, and she so enjoys the game!”
- Broadway World
“Lyons provides a fully realized Norina…. The show may be named for Don Pasquale, but it many ways, this was Lyons’s show.”
- PopLife STL
“she decked the hall in secure fioriture…. and she made the whole affair seem effortless.”
- KDHX
“it is Christine Lyons as the youthful widow Norina who captivates with soaring arias and a flawless vibrato.”
- Riverfront Times