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

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

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.

“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.”

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

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

“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”

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

“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.”
-Gregory Moomjy

“In supporting roles, the soprano Robyn Marie Lamp…were all excellent.”
-Anthony Tommasini


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


“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.” 
- Greg Stephanich

"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."
-Basil Considine

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