Florestine in La Mère Coupable, On Site Opera

"Amy Owens was the coloratura soubrette incarnate, with the most effortless high notes"

     -Harry Rolnik, Concerto Net

"Amy Owens' gleaming soprano made for a scene-stealing Florestine"

     -Richard Sasanow, Broadway World

"The two soprano leads – Ms Black in the title role and Amy Owens as Florestine -- handled Milhaud’s melting lines with keen sensitivity. Ms Owens was the cast’s standout."

     -Sacha Evans, Bachtrack

"Amy Owens’ Florestine was a fetching blonde ingenue with a gleaming coloratura; I look forward to hearing what else she can bring to new music."

     -Joel Rozen, Parterre

"Soprano Amy Owens made a winsome, sometimes fearful Florestine with impressive accuracy and some thrilling high notes."

     -Bruce Hodges, MusicalAmerica.com


Porporina in L'opera seria, Wolf Trap Opera:

"Amy Owen’s light soprano and pert presence as the rising star of the company, Porporina (purple-faced), was compelling, and to her belonged the comic high-point of the whole evening, the hilarious dolphin and fish song, where everyone laughed so loud as to rival the music. But what a good complaint! Her mic drop at the end was a killer touch."

    -Hilary Stroh, Bachtrack


Lucia in The Rape of Lucretia, Wolf Trap Opera:

"Sarah Larsen’s hearty mezzo as Bianca and Amy Owens’ sweet tone as Lucia also hit the spot, as did their finely detailed portrayals." 

    - Tim Smith, Opera News

"Bright soprano Amy Owens also shines in the minor role of Lucia, Lucretia’s maid."

    -Mark Paarlberg, Washington City Paper

"In the wonderful women's ensemble scenes, which are the best parts of this opera, she was supported by the flighty high soprano of Amy Owens as Lucia and the steady maternal sound of Sarah Larsen as Bianca, her nurse."

    -Charles T. Downey, Ionarts

"Also, the bright, silvery tone of Amy Owens as Lucia, the maid, and the warm, soothing sounds of Sarah Larsen as the nurse, Bianca."

    -Philip Kennicott, Washington Post


New Opera Showcase, Opera America: 

"The vocal lines showed off the beautiful voices onstage, and Amy Owens gave us a lovely performance with an expert control of dynamics in her coloratura range, seamlessly sliding from pianissimo to forte on several occasions."
      -Soprano in the City


Florestine in The Ghosts of Versailles, Wolf Trap Opera:

"Soprano Amy Owens was astounding in Corigliano's stratospheric writing for Florestine." 

      -Classical Voice North America

"Note, too, the elegant vocal shading from….Amy Owens (Florestine)"

    -Tim Smith, Opera News


Despina in Cosi fan tutte, Opera Naples:

"As Despina, Amy Owens steals the scene every time she walks onstage....Owens carries it off with glee, whether popping up in phony officials’ wigs and gowns or hovering over the sisters to powder and paint them as she slyly manipulates them....A triple threat in the theater."

        -Naples Daily News



 "Amy Owens lent her soprano voice to the lyric modal machinations of the three featured pieces....Owen’s soprano was clear and articulate in every selection as she painted the very different pictures of each song–we heard a lifetime in the span of a few moments."

       -Sherri Rase, Qonstage


Blonde in Die Entführung aus dem Serail, Utah Opera:

"Utah Opera's season-ending production of The Abduction From the Seraglio (seen May 10) got a shot in the arm in Act II from soprano Amy Owens, an ebullient resident artist with the company cast as Blonde. Owens' plucky Blonde was a breath of fresh air, charming her captors into submission and dishing out a healthy dose of attitude when more subtle wiles failed. Owens's lyric soprano was as uninhibited and pointed as her character. Throughout the aria "Durch Zärtlichkeit und Schmeicheln," she negotiated runs cleanly with open top notes and trills that matched her sparkling wit."

      -Opera News

"abundant charm and solid technique."

        -Salt Lake Tribune

"Amy Owens is positively infectious as Blonde, easily stealing the show. Her comedic timing, dazzling vocals, and darling personality are the work of a true professional and exactly what the opera deserves."

      -Cliff's Music Picks

"engaging, charismatic....strong performance with both vocals and acting.... Owens added a much-needed dose of energy and spunk to the production. A natural on the stage, she stole the show with the scene in Act II when she teases Osmin and stands up to him."

        -Reichel Recommends

"likable demeanor, acting skills, and clear voice"

        -The Utah Review


Annina in La Traviata, Utah Opera:

"A fine assembly of supporting characters was led by Utah Opera resident Amy Owens as Annina, whose engaging bell-like soprano heightened her brief vocal opportunities."

          -Opera News


Papagena in Die Zauberflöte, Utah Opera:

"Utah Opera resident artist Amy Owens stole the show with a pristine soprano and vivacious enthusiasm as Papagena. This attractive young singer has a bright future."

      -Opera News

"Amy Owens was a mischievous and high-spirited Papagena."

      -Salt Lake Tribune


Susanna/Cunegonde/Queen of the Night in Fatal Song, Utah Opera:

"Amy Owens, playing Susanna, bubbled her way through the evening.... Owens's high-flying vocals were later heard in a technically clean and focused Queen of the Night aria and Bernstein's 'Glitter and be Gay.'"

         -Opera News