Lauren Snouffer embodies Mélisande’s fragile strangeness with a radiant lyric soprano.
Dallas Morning News, Scott Cantrell

Soprano Lauren Snouffer perfectly embodied the apprehensive and elusive Melisande…
Texas Classical Review, William McGinney

Lauren Snouffer makes the most exquisitely sung – and expressively acted – Pamina I have ever seen. Catch her if you can.
inews.co.uk, Michael Church

Lauren Snouffer’s Pamina had more strength of character than is often the case, with warm, touching tones…
Bachtrack, Nick Boston

Part of this is successfully achieved through the inspired casting of American soprano Lauren Snouffer as Pamina, whose charismatic assertiveness and vivid fluent singing make it clear that no matter what the script says, here is a woman in charge of her life.
The Arts Desk, Rachel Halliburton

As Pamina Lauren Snouffer’s soprano combines a sumptuous feel with notable clarity.
Music OMH, Sam Smith

Here we get close to the depressive and clairvoyant Justine – phenomenally portrayed by the vocally agile Lauren Snouffer. She becomes a classic opera heroine, dressed in white, seemingly sleepwalking with her stratospheric soprano calling out to a dark and uncomprehending outside world.
Dagens Nyheter, Camilla Lundberg

Le plus beau chant, et le style le plus accompli, sont à chercher, ce soir, du côté de Lauren Snouffer, distribuée en Musica (curieusement présentée comme une femme traitée pour un cancer), puis en Speranza.
Opéra Magazine, David Shengold

Den Ophelia-Monolog, neu collagiert und behutsam in seine Einzelteile zerlegt, zauberte die Sopranistin Lauren Snouffer in höchste Lagen und ließ die Töne schweben. Snouffer bewältigt diese Herausforderung, alles andere als harmlos, großartig und anrührend.
Hamburger Abendtsblatt, Joachim Mischke

As Romilda, soprano Lauren Snouffer delivered beautifully dark, shimmering tone and thrilling melismatic ornamentation.
Opera News, Jennifer Goltz

In this iconic “trousers role,” Snouffer literally bounds into Act I and never stops bounding. Playing a boy who’s continually in love with someone, anyone, but the Countess is his unrequited desire, she’s an utter delight…It’s her voice, of course, that seals the deal, as she gloriously sings her heart out with Mozart as perfect accompanist. Snouffer’s a scene stealer of the highest order, and it takes quite a lot to make an impression with so many other scene stealers in sight in this picturesque co-production from Houston Grand Opera and Glyndebourne Festival.
Houston Press, D.L. Groover

As his sweetheart, Mabel, Lauren Snouffer made her appearance in a flurry of coloratura. She proceeded to wow with crystalline high notes in her delicious song, “Poor wand’ring one.” She charmed every minute she appeared.
Cincinnati Business Courier, Janelle Gelfand

Soprano Lauren Snouffer communicated with a lustrous tone…She soared through treacherous leaps effortlessly and with beauty of line, while Adams and the orchestra created a sumptuous backdrop…Near the work’s close, she brought expressive power to “Memorial de Tlatelolco.”
Cincinnati Business Courier, Janelle Gelfand

Snouffer and Hampson gave polished, highly convincing performances. Snouffer’s demanding solos filled the hall, but her voice also stirred compassion for the young maid in a fix, a woman employed by a married man who’s awfully keen to please her. Snouffer also demonstrated a mastery of her soprano that was as inviting as it was well-tempered, as colourful as it was secure.
Bachtrack, Sarah Batschelet

Vor allem Lauren Snouffer, die Sängerin der Titelrolle, weiss die Expressivität der Gesangslinien mit ihrem blühenden Sopran zu nutzen. In ihrer Darstellung der Griet wird die Zerrissenheit der Figur zwischen den banalen Hausarbeitspflichten als Dienstmädchen und ihren aufkeimenden künstlerischen Ambitionen berührend deutlich. Überdies verfügt Snouffer szenisch über ein reicheres Mienenspiel als die etwas wächsern-maskenhafte Scarlett Johansson in der gleichnamigen Verfilmung von Peter Webber.
Neue Zürcher Zeitung, Christian Wildhagen

Sister Constance emerged Friday as the story’s most sympathetic character. Lauren Snouffer’s silvery tones put across the young novice’s sunny nature right away, and when Constance told about the fun she once had at her brother’s wedding, Snouffer’s little burst of dancing lent the drama one of its few moments of lightness. Though high notes in Poulenc may not have the showiness of those in Verdi or Puccini, Snouffer’s ease in soaring aloft turned those moments into embodiments of Constance’s spirit and fervor.  Snouffer also sang the quieter moments with a lyricism and conviction that revealed Constance’s visionary, even mystical side, such as when she (in French) declares: “We do not die for ourselves alone, but for each other—or sometimes even instead of each other.”
Texas Classical Review, Steven Brown

L’Américaine Lauren Snouffer, qui reprend le rôle, est plus qu’un prix de consolation : alter ego vocal de Hannigan, dont elle fut la doublure pour la création mondiale de Written on Skin, de George Benjamin, elle possède une belle et originale personnalité, qui donne envie de la revoir et de la réentendre bientôt.
Télérama, Sophie Bourdais

Lauren Snouffer…incarne Gerda. Son timbre doux comme une neige poudreuse reste homogène sur un large ambitus très sollicité. Elle s’acquitte avec succès et précision des difficultés rythmiques de sa partition, mais aussi des défis techniques comme ces lentes vocalises, sinusoïdes parcourant les registres par des lignes escarpées qu’elle accompagne d’un geste de la main.
Olyrix, Damien Dutilleul

Écrit à l’origine pour Barbara Hannigan, la soprano canadienne qui a incité le compositeur à écrire de la musique vocale, le rôle de Gerda est ici repris par Lauren Snouffer, qui porte bravement sur ses épaules si frêles d’apparence (on donnerait volontiers à la jeune femme l’âge du rôle, tant elle se montre crédible en fillette courageuse et déterminée) une partition où elle est de toutes les scènes ou presque, aigus éprouvants à l’appui, qu’elle aborde sans problème apparent.
Opera Forum, Catherine Jordy

Snouffer has the voice and the attitude to grow into a memorable Lulu. She played the temptress with delicious abandon, feline grace and a light, clear soprano that rose easily to coloratura.
Opera News, Roberto Herrscher

Hallenberg at this stage is hardly a revelation, but the young American Lauren Snouffer’s Teofane is.  The timbre is lovely, pure and flexible, yet possessing the kind of sensitive vulnerability that automatically inspires protective sentiments.  ‘Affanni del pensier’ (Act I), an aria wracked with chromatic pain, is drawn with a wonderful sense of line that finds her at her most affecting, but Snouffer is quite outstanding throughout.
OPERA, Brian Robins

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