Press

Robyn Marie Lamp captured Donna Anna’s fiery anger over Don Giovanni’s murder of her father, the Commendatore.

Robyn Marie Lamp, in her debut WOSL performance, displayed a sturdy soprano voice of her own as Donna Anna, clearly projecting with power and delivering her lines with conviction.

Donna Anna is sung by the glorious Robin Marie Lamp from Florida. She is remarkable, firstly, for the mere wondrous size of her voice. She shows such easy and consistent power. Add to this the great sweetness shown in every note—and the nimbleness and delicacy with which she meets those coloratura challenges. Her “vengeance” aria is a stunner!

Soprano Robyn Marie Lamp soared opulently in the opening “Kyrie,” later diminishing to the above-mentioned pianissimi.

​Lamp’s rich sound and artfully deployed edge at the top effectively took center stage in the “Libera me.” Her high C over orchestra and chorus generated sparks but her radiant pianissimos proved most distinctive. Lamp’s final prayer “deliver me” was the culmination of a deeply felt performance. The audience appropriately held its applause, allowing the conclusion’s emotional catharsis to come through.

The heart of Opera in Williamsburg’s Bohème was the sensitive but strong-willed Mimì of soprano Robyn Marie Lamp. The opera’s sound world changes when Mimì’s voice is first heard from outside of the bohemians’ quarters in Act One, but Lamp also altered the psychological trajectory of the drama, her Mimì garnering affection and empathy without overtly seeking them.

Acclaimed Florida-based soprano Robyn Marie Lamp made her first appearance in Worcester in March 2019 at Mechanics Hall as soprano soloist with the Worcester Chorus and Masterwork Chorus from New Jersey in a performance of Verdi's powerful Requiem presented by Music Worcester. "It was wonderful. It was such an amazing experience," Lamp recalled. "It was just great to sing in Mechanics Hall. It's God's gift to the human voice."

Robyn Marie Lamp displayed a silvery soprano timbre and supple delicacy of phrase.

Robyn Marie Lamp exhibited soprano star quality from her initial entrance to the solo that introduces the choral finale.

Robyn Lamp has a radiant soprano voice which she handles with great expertise and ease. She plucked bell-like high As, Bs and Cs out of some celestial sphere, always interpreting the text with deep-felt emotion; her interpretation of the line “I am made to tremble and fear” was truly affecting.

The Southwest Florida Symphony seamlessly performed Verdi’s powerful “Requiem” on Saturday, March 2 — but not before a rushed and panicky search for a fill-in soprano. The soprano originally cast to perform with the symphony fell ill on the afternoon of the performance during the orchestra’s dress rehearsal. The stars truly aligned for the symphony that evening when soprano Robyn Marie Lamp returned Southwest Florida Symphony's Executive Director Amy Ginsburg's urgent phone call.

The soprano Robyn Marie Lamp brought immense warmth and an ability to spin long lines of melody to “Ihr habt nun Traurigkeit,” sustaining long crescendos and pouring emotion into her singing without overdoing it

Among the singers, Robyn Lamp stood out for her ample, exciting soprano, showing mature musicianship and a budding Verdi voice in the “Crucifixus.

Robyn Marie Lamp, as Imogene’s confidante Adele, displayed an ample spinto soprano that suggested a bel canto diva in the making.

Yet, even here the audience had a chance to hear Robyn Marie Lamp’s smooth and rich voiced Adele. She was the best of the evening’s cast of secondary characters and is certainly someone to watch.

Soprano Robyn Marie Lamp, as Romaine, had a large and attractive voice, well-suited for her big aria and very useful in combination with those of Olivia and Matthew. She came across with warmth and personality.

An entirely opposite mood infused the following piece, “Glück, das mir verbleib” from Korngold’s Die tote Stadt. Here, soprano Robyn Lamp navigated the change by walking onstage in full character, establishing the atmosphere well before the first note sounded on the piano. Following the piano interlude in the middle of this duet-cum-aria, she displayed a wonderful covered sound that blossomed richly as the music ascended.