Robin Follman is… the sexy revamping of today's opera… she has what it takes for the new generation of opera divas -- great looks, strong acting skills and a voice as big as Southam Hall.” – The Ottawa Sun

Turandot by Giacomo Puccini

“Robin Follman's Turandot was vocally all steel and ice with power to spare. Her Turandot was haughty to the extreme, with facial expressions of utter contempt and long fingernails a-twitter.”– Opera News

“Follman is the whole package, starting with a voice as sweet, round and rich as it is big.  Even singing over Puccini’s thickest orchestration, she sounded effortless.  Her phrasing was sure-footed.  Her grasp of the arc of her arias was clear and intelligent.  Her emotional colorings were subtle and telling.  The slow buildup of outrage and horror in “Vissi d’arte” allowed that great aria to serve its intended purpose as the fulcrum of the entire opera.

Follman is a compelling actress, too.  She’s a reactor, alert to what’s going on around her.  She uses her large, expressive features in a telling, natural way (thank heaven for a Tosca who doesn’t make faces).  The plot turns on Cavardossi’s love for Tosca and Scarpia’s cruel lust for her, so it doesn’t hurt that on top of everything else Follman is a beautiful woman.” - Milwaukee Journal Sentinel

La Bohème  by Giacomo Puccini

“...  an unflappable vocal security that helped ground the entire performance.” - Los Angeles Times

“ Robin Follman, a singer—actress fully worthy of that dual distinction.” - Opera News

“Soprano Robin Follman brings a focused, fluid sound to her portrayal of the consumptive Mimi. She manages dynamic extremes and subtleties of color with tremendous control, creating a brilliant sound that demands attention.” - Milwaukee Journal Sentinel

La Rondine by Giacomo Puccini                                             

“Follman’s voice was awesome – there were times I was afraid that the glass she held would break.” - Daily Utah Chronicle

 “Follman’s dramatic soprano was bright and strong…, and she did a fine job making the poignancy of Magda’s plight clear.” - Salt Lake Tribune

Photo by Kent Miles for Utah Opera & Symphony

Otello by Giuseppe Verdi    

"Not even the full orchestra, fortissimo, drowned her out...she looked the part, but it was her clear soprano and finely tuned control that made the performance." - The Honolulu Advertiser

La Traviata by Giuseppe Verdi                                              

"...a brilliantly nuanced soprano voice of extraordinary beauty and versatility. 

Her "Ah, forse lui" (Is Alfredo the man of my dreams?") aria of the first act showcases her phenomenal vocal control, while contrasting "Sempre libera" ("I will always remain free") that follows exhibits an altogether different, but no less pleasing dimension of her talent..." - Honolulu Advertiser

Faust

“Soprano Robin Follman brought enchantingly pure tone, easy high range and rich musical style to her international-class Marguerite.” - Opera News

Photo by Christopher Barbeau for Michigan Opera Theater

I Pagliacci by Ruggero Leoncavallo

“Robin Follman has successfully taken on heavier repertoire of late - such as Turandot - and hers was a powerhouse Nedda. Yet she was capable of scaling down her voice, easily negotiating the colorful vocal flights of the balatella.”
– Opera News

“Her peasant dress, as bright red as a shiny apple, would make Nedda (Robin Follman) stand out in any crowd.  But at this moment in ‘Pagliacci,’ stretched out on her back singing as she stares up at the sky, it’s as if she actually burns white-hot...a few minutes later, Nedda will stretch out on stage to share a kiss with her paramour (Jeff Mattsey)–imagine, getting horizontal in a prim-and-proper opera! – and, thanks to the pair’s fiery presence and palpable passion, you can almost feel the heat.” - The Fresno Bee

“Robin Follman’s Rosalinde tied the show together with a rich, rousing soprano and the easy way she took the character through a remarkable range, from ditzy and clueless through outraged Midwestern girl, and finally, to tender.” - Kansas City Star

Photo by Christopher Barbeau for Michigan Opera Theater

The Merry Widow by Franz Lehar

“Follman sang a deliciously slow, wonderfully smooth version of Hanna’s big solo “Vilja”...and offered the commanding presence of a bold, ahead-of-her-time fin-de-siecle character like Dolly Levi form “Hello Dolly!” - Indianapolis Star