“…she produced a mesmerising performance - and a top F that shook the West End.”

Richard Morrison

The London Times

Photo courtesy of Teatro alla Scala

As Gilda in Rigoletto at the Canadian Opera Company

“Christy is a youthful Gilda, believably naive; her stunning Caro nome is a standstill moment of the show.”

Janna Simeonov, The Globe and Mail, January 21, 2018

“Christy’s iron-clad technique projects her light tone with seeming effortlessness, developing into an even fuller sound as she ascends the role’s considerable heights.”

Gianmarco Segato, Opera Canada, January 22, 2018

“Anna Christy’s Gilda is a triumph. Her voice shimmers and spins like silver silk thread through the virtuosic high notes of the famous Caro Nome. Her performance is also rich with understanding of Gilda’s motivations. The character’s lethal combination of teen rebellion and trusting romanticism is vivid and visceral.”

Keira Grant,, February 10, 2018

As Morgana in Alcina (concert version) with The English Concert at Carnegie Hall:

“...Anna Christy was sexy and flirty as Morgana, Alcina’s sister, flying high through the flashy coloratura showpiece, ‘Tornami a vagheggiar’...”

Heidi Waleson, The Wall Street Journal, November 3, 2014

“The bright-voiced soprano Anna Christy was sassy and flirtatious as Morgana...”

Anthony Tommasini, The New York Times, October 27, 2014

As Morgana in Alcina (concert version) with The English Concert at The Barbican, London:

“...the slyly simpering Anna Christy sprinkled gold dust over Morgana’s show-stopping “Tornami a vagheggiar.”

Rupert Christiansen, The Telegraph, October 11, 2014

"Anna Christy sang a glittering Morgana, her bright soprano enhanced with tasteful vibrato..."

Laura Battle, Financial Times, October 13, 2014

“...the aria 'Tornami a vagheggiar'. And here it was Anna Christy who brought the house down. Her performance was technically brilliant but also very characterful, no mean feat in such complex music. Throughout the opera, Christy projected her sheer delight in the character... Christy delighted, as she displayed Morgana's complexity and delightful charm, combined with fine technical poise.”

Robert Hugill,, October 11, 2014

"If ever there was a soprano made for the silvery sheen of Morgana’s music it’s Anna Christy."

Alexandra Coughlan,, October 11, 2014

As Susanna in The Marriage of Figaro at Central City Opera:

“The clear star was soprano Anna Christy, whose agile voice and jaunty manner imbued Susanna, the irrepressible chamber maid, with a playful mischievousness and unruffled self-assurance.”

Kyle MacMillan, Opera News (online only), September 2014

As Lucia in Lucia di Lammermoor at the Canadian Opera Company:

"Soprano Anna Christy was spectacular in the title role, which includes one of opera's most famous mad scenes in the final act."

John Terauds, Musical Toronto, April 2013 

"Anna Christy's Lucia - brilliantly sung and presented..."

"Christy's Lucia (Alden built the entire production around her) is subtle, clear, immensely powerful, but never overbearing. Her coloratura voice is so perfectly controlled that we stopped listening for its pyrotechnics, and just concentrated on its drama and artistry. The famous Mad Scene has been more flashily spectacular, but seldom more convincing."

Robert Harris, The Globe and Mail, April 2013 

"I had nothing but admiration for Anna Christy's Lucia, not just for the pain she endured in the evening's first half, but for the way she turned her legendary mad scene into a piece of searing dramatic emotion, rather than a mere display of extraordinary vocal technique (which Christy also possesses.)"

Richard Ouzounian, The Toronto Star, April 2013 

"Simply put, she is stunning and delivers a pitch-perfect Lucia. Christy is spellbinding, perfectly channeling both Lucia's innocent naïvete and her terrifying, seething intensity during the famous mad scene. Her expressive coloratura is the vocal highlight of the performance."

Wayne Leung, Mooney on Theater, April 2013

As Zerbinetta in Ariadne auf Naxos at Lyric Opera of Chicago:

“Soprano Anna Christy, so delectable as the mechanical doll Olympia in Lyric's ‘Tales of Hoffmann’ earlier this season, was even more charming and funny as the coquette Zerbinetta, tracing the florid vocal gymnastics of her big, 13-minute showpiece aria with such silvery ease and fluidity as to draw the evening's biggest ovation.”

John von Rhein, Chicago Tribune, November 20, 2011

“Anna Christy’s Zerbinetta, the insightful comedienne who at first seems only a tart, was a perfect creation…”

Andrew Patner, Chicago Sun-Times, November 20, 2011


As Olympia in Les Contes d’Hoffmann at Lyric Opera of Chicago:

“Anna Christy was a clear audience hit as Hoffmann’s first inamorata, the mechanical doll, Olympia. Gliding across the floor, and assaying a variety of intricate mechanized movements, Christy was genuinely funny and vocally delightful, her high soprano vaulting through the doll’s stratospheric coloratura.”

Lawrence A. Johnson, The Classical Review, October 2, 2011


Stars of Lyric Opera, Millenium Park:

“Speaking of compelling, soprano Anna Christy whetted collective appetites for her upcoming Olympia and Zerbinetta with her ravishing accounts of a Donizetti coloratura chirp fest ("O luce di quest'anima," from "Linda di Chamounix") and her part of the famed Lakme-Mallika duet from Delibes' "Lakme." Both selections displayed a fully finished artist at the top of her vocal game, radiating oodles of charm.”

John von Rhein, Chicago Tribune, September 12, 2011


As Kitty in The Last Savage at Santa Fe Opera:

“The soprano Anna Christy brought her agile, clear voice and manic energy to Kitty...”

Anthony Tommasini, The New York Times, August 14, 2011 

“Anna Christy, erupting in a barrage of coloratura at the slightest pretext, is a delight as Kitty”

George Loomis, Financial Times, August 8, 2011


As Tytania in A Midsummer Night’s Dream at Lyric Opera of Chicago: 

“...radiantly sung by Anna Christy, a soprano who's completely at home in the ethereal stratosphere of Britten's coloratura writing.”

John von Rhein, Chicago Tribune, November 7, 2010


As Olympia in Les Contes d’Hoffmann at The Metropolitan Opera:

“...Anna Christy painted Olympia’s flighty ornamental music in bright textures and had no problem with its difficult filigree.”

Allan Kozinn, The New York Times, September 29, 2010


As Cunegonde in Candide (concert version) at the Hollywood Bowl:

“Anna Christy, an experienced, sophisticated and flirtatious Cunegonde, made "Glitter and Be Gay" sparkle without campiness.”

Mark Swed, Los Angeles Times, September 3, 2010


As Blondchen in Die Entführung aus dem Serail at San Francisco Opera:

“Soprano Anna Christy, as the plucky maid Blonde, combined bright, crisply defined tone and impeccable precision to create a vivid portrait of an unstoppable dynamo...”

Joshua Kosman, San Francisco Chronicle, September 25, 2009


As Oscar in Un Ballo in Maschera at the Royal Opera House, Covent Garden:

“...the stratospheric soprano of Anna Christy, making her Royal Opera debut, animates a delectable Oscar.”

Hilary Finch, The London Times, July 1, 2009

“...and Anna Christy makes the most winning Oscar I have seen for a long time.”

Michael Tanner, The Spectator, July 1, 2009

“Most convincing is soprano Anna Christy as the eerie lady-boy Oscar, the voice bright and ping-y, the manner busy and domineering so that Oscar seems to drive everything which goes on around him/her.”

Nick Kimberly, London Evening Standard, June 29, 2009


As Angela in The Firebrand of Florence with the Collegiate Chorale:

“His petulant muse, Angela, was delightfully incarnated by soprano Anna Christy, who looked adorably sexy and broke all hearts with her achingly beautiful piano high notes, held for bars and bars during ensembles.”

Eric Myers, Opera News Online, June 2009


As Blondchen in Die Entführung aus dem Serail with the Ravinia Festival:

"Anna Christy's spitfire Blonde maintained pinpoint accuracy of intonation right through her top E."

Mark Thomas Ketterson, Opera News, November 2008

“Soprano Anna Christy has a silky, strong voice, and her Blonde was just the right mix of minx and seductress.“

       Wynne Delacoma, Chicago Sun Times, August 16, 2008


As Bianca in Bianca e Falliero with the Washington Concert Opera:

"Anna Christy's doll-like looks belie her vocal prowess. Her bright-sounding coloratura soprano soared through the role's vocal pyrotechincs, and she concluded with a radiant 'Reco resto'. “

       Jerry Floyd, Opera, October 2008


As Lucia in Lucia di Lammermoor with English National Opera:

“Christy's silvery tone suggests child-like fragility, and her coloratura is often breathtakingly accurate.”

      Tim Ashley, The Guardian, February 18, 2008

“..she produced a mesmerising performance – and a top F that shook the West End.”

Richard Morrison, The London Times, February 18, 2008

”Her power stems from her amazingly youthful appearance and a voice that threatens to tear apart her tiny frame.”

       Edward Seckerson, The Independent, February 20, 2008

“In Anna Christy we have an ideally convincing Lucia, seen initially as a child in puffed sleeves and pantalettes, but all too swiftly arriving at a doomed adulthood, to which her vocal agility in the Mad Scene adds the ultimate ghoulish fulfilment.  Secure with both phrasing and ornament in her ‘Regnava nel silenzio’, Christy shrugged off apparent problems with a chest infection on opening night to show genuine mettle as a bel canto specialist, especially in Act 2’s extended duet sequences with Enrico and Raimondo.”

       Jonathan Keates, Opera, April 2008


As Hortense in Tobias Picker’s An American Tragedy at the Metropolitan Opera (world premiere):

“Another worth mentioning is Anna Christy as the chamber maid, facing a small role filled with technically difficult passages.”

       David Shengold, Opera, February 2006

“…with special notice to the high-flying singing of Anna Christy as Hortense, a chamber maid.”

       Mark Swed, Los Angeles Times, December 5, 2005


As Celia in Lucio Silla at the Santa Fe Opera:

“Anna Christy’s command of 18th-century vocal acrobatics is without limit.”

       Wes Blomster,, August 4, 2005


As Cunegonde in Candide at New York City Opera:

“The soprano Anna Christy lends a ditsy touch of Madeline Kahn to her adorable portrayal of Cunegonde and tosses off the daunting show piece "Glitter and Be Gay" with bright-toned agility.”

Anthony Tommasini, The New York Times, March 10, 2005


As Muffin in Bolcom’s A Wedding at Lyric Opera of Chicago (world premiere):           

 “Some of the evening’s best singing came from the coloratura fireworks of petite, raven-haired soprano Anna Christy as the bride.”

       Wynne Delacoma, Chicago Sun-Times, December 13, 2004


As Olympia in Les Contes d’Hoffmann with Central City Opera:

“Ms. Christy is a promising coloratura soprano: nimble of voice, body and spirit.”

       Bernard Holland, The New York Times, July 17, 2004

“Although this trio would be the envy of opera anywhere, it is Christy, a young American well on the way to stardom, who alone makes this production worth the price of admission.”

       Wes Blomster, The Daily Camera, June 28, 2004


In recital:

“…this lovely and elegant soprano is well on her way to becoming one of the great coloraturas of the 21st Century…The first half closed with five of the six lieder from op. 68 (the so-called “Brentano Lieder”) by Richard Strauss.  Devilishly difficult, these pieces required perfect intonation, control and placement, all of which Christy performed with seeming ease…Her tone was at all times focused, bright and ringing.  Well done…at all times, Christy appeared at ease, as if she were in her natural element.  While recitals do not call for dramatic action, it is clear that she is a singing actress of the first order.”

       Gary Hoffman, Opera Today, October 13, 2005