What the critics say:

"The most beautiful musical moment came from soprano Rosa Lamoreaux's golden-voiced angel, who comforted .... with a radiant performance of Osvaldo Golijov's Lua Descorlorida."
Washington Post

"The concert featured Samuel Barber's "Hermit Songs" cycle, Leonard Bernstein's "Missa Brevis" and John Corigliano's "Fern Hill." Soprano Rosa Lamoreaux didn't miss an ounce of Barber's iconoclastic wit pervading the spare, ever-changing moods of his medieval psalm settings. Lamoreaux's wealth of vocal timbres allowed her to choose the particular color undergirding the mood of each setting."
Washington Post

"Both song sets on the program were comfortably idiomatic for the voice and drew on splendid poetry. Lamoreaux, in luxurious voice, took on their nuances with sympathetic attention to language."
Washington Post

"Charm, elegance and wit of the highest order..."
Bergstrasser Anzeiger, Bensheim, Germany

"Vitality and freshness..."
Giornali de Venezia, Venice, Italy

"The concert, dubbed 'Groves of Antiquity'. was a particular pleasure, showcasing the extraordinary soprano Rosa Lamoreaux in a program centered around three early 18th-century cantatas. The small scale of the works - Rameau's "Le Bergere Fidele," Vivaldi's "All'Ombra di Sospetto" and Pergolesi's "Orfeo" - allowed Lamoreaux to bring a subtle, delicately calibrated sense of drama to each, and her singing - as always - was riveting."
The Washington Post

"A wonderfully rich timbre and an amazingly flexible voice...combined with her excellent diction, technical mastery and engaging personality makes for a first-rate performer."
The Washington Post

"Beyond her gleaming, spot-on high notes and cascades of silver-toned runs, she possesses an intelligence and scrupulous musicianship that pay dividends in all the music she performs...everything was sung with gorgeous sound and stylistic acuity."
The Washington Post

"She took on songs by Clara and Robert Schumann and Brahms, and settings of Laudamus Te from Masses by the two Mozarts, each with its own idiom, and offered poetic and powerfully projected performances that communicated the texts vividly."
The Washington Post

"This is not a conventional symphony, but a song cycle...Soprano Rosa Lamoreaux sang with impassioned expression." [Shostakovich Symphony #14]
Seattle Post-Intelligencer

"...a quite astonishing ear for the tart, specific "there-ness" of a given vocal style..." [for the 17th Century Bawdy Program]
The Boston Globe

"Soprano Rosa Lamoreaux sang in an impressive number of languages with such lively expression that one didn't need to follow the page of translations to understand the lyrics."
The Washington Post

"...soprano Rosa Lamoreaux (Venere), whose bright tone rode Cavalli's melodic curves vividly".
Baltimore Sun

"Lamoreaux displayed a resplendent top range, giving greater definition and brilliance to the sound."
The Washington Post

"A soprano of delicious temperament and outstanding vocal focus."
WQED-FM, Pittsburgh

"Ms. Lamoreaux possesses a remarkable scope, ranging from the petite to the grand, as she showed in a memorable rendition of Vilja from Lehar's The Merry Widow. Ranging from melancholy to romance, her classically lyric voice summed up the evening's emotional range".
The Washington Times

"As far as the singing, it was a brilliant coup to secure the collaboration of veteran soprano Rosa Lamoreaux, who was splendid as Venus, a riveting presence, vocally and otherwise, when she was on the stage in her bright red costume (complete with starlet sunglasses when she was hiding her identity from her son, Aeneas)".
Posted by Charles Downey in Music

"The prologue sung by Iris in the original was taken by Venus here‚Äďat once a practical move, since it is Iris' only appearance in the opera, and also another opportunity to hear Rosa Lamoreaux, clearly the star singer in this production".
posted by Clayton

"A masterful art singer, flexible, brilliant and full of personality, but never overpowering of her colleagues."
Richmond News Leader, Virginia

"...sung with Lamoreaux's usual polish and total involvement, with a voice whose pure beauty is one of Washington's richest natural resources."
The Washington Post

"The perfect vocal match of Arlene Auger and Rosa Lamoreaux in the Christe Eleison [Mass in B minor] was almost an excess of vocal beauty."
The Morning Call, Bethlehem, PA

"Splendid, especially the angelic soprano voice of Rosa Lamoreaux. Her singing was bright, strong and lyrical, and her vocal embellishments were tasteful and beautifully executed."
The Saginaw News, Michigan

"An incandescent presence and a voice to match it. Her technique was perfect, and her expression contained all the emotion and sensitivity inherent in Bach."
The Evansville Courier, Indiana

"a fine coloratura voice that effortlessly graced the movements; perfect phrasing and intonation." (Exultate Jubilate, Mozart)
The Washington Post