Erica Schuller


Masterpieces for Orchestra and Voice by Victor Herbert and Jerome Kern, 2017, Theatre Comique

Schuller and Growden are experienced and successful singers with beautifully modulated, well-projecting voices, careful diction and rock-solid stage presence. Schuller impressed at the beginning of the concert, with If I Were on the Stage and The Nightengale and the Star from Mlle. Modiste, and she remained brilliant to the very end of the concert.

— Janos Gereben, San Francisco Classical Voice

Isreal in Egypt, 2017, Apollo's Fire

...crystalline timbre and intelligent sensitivity

— Mark Satola,

While the crystalline voice of Erica Schuller and the glowing warmth of Molly Netter were featured in separate soprano arias, the highlight of the entire performance in their duet, The Lord is my strength and my song. Their adorable blend carried an emotional charge that sent a wave of sniffles across the audience. Again, though their technique was perfect, even greater was was the palpable sense of the two singers supporting each other. As a friend said, It’s like Jung’s concept of triangulation: the interaction of two people causes a new, different emotion or idea to appear, something that wasn’t brought into being by either one of those people alone.

— Mark Sebastian Jordan, Seen and Heard International

Ariane et Bachus, 2017, Haymarket Opera Company

...wonderfully venemous.

— John von Rhein, Chicago Tribune

Livietta e Tracollo, 2017, Boston Early Music Festival

Livietta gave Erica Schuller her moment to shine and she made the most of it vocally and dramatically.

— Kevin Wells,

Love in Venice, 2016, Apollo's Fire

Schuller is an experienced artist with a rich voice and a stage presence honed through long experience in opera ranging from Monteverdi to Philip Glass.

— Mark Satola,

...clear voiced, accomplished soprano Erica Schuller.

— Nicholas Jones,

Exsultate, Jubilate, 2016, Ars Lyrica, Houston

Soprano soloist Erica Schuller made use of a vivid dynamic palette and assured, glittering coloratura to renew this classic, which shone in bright relief after the sturm und drang of the Bach brothers.

The American Organist, AGO Convention reivew

...soprano Erica Schuller was superb in Mozart's Exsultate, Jubilate.

Diapason Magazine, AGO Convention review

Amadigi di Gaula, 2015, Haymarket Opera Company

Schuller glowed as the beautiful, chaste Oriana, her warm, agile soprano full of passion and depth. However, when stung by Amadigi’s unwarranted jealousy, she unleashed vocal volleys that ripped the air like speeding arrows.

— Wynne Delacoma, Chicago Classical Review

The admirable Brazilian countertenor Jose Lemos and the winning American soprano Erica Schuller made a touching pair of lovers as Amadigi and Oriana....Schuller, a Haymarket regular, was hardly less appealing, her sweet, radiant voice and dramatic poise capturing Oriana's virtue and constancy.

— John von Rhein, Chicago Tribune

...Oriana's entrance comes as a breath of fresh air. Soprano Erica Schuller easily wins our hears with her infectious goodness, winning smile, and gorgeous tone.

— Barnaby Hughes, Stage and Cinema

L'incoronazione di Poppea, 2015, The Boston Early Music Festival

Erica Schuller and Danielle Reutter-Harrah brought to the roles of Fortune and Virtue (respectively) beauty, bearing, and soprano voices fit for goddesses.

— David Wright, Boston Classical Review

The Snow Dragon, 2015, Skylight Theatre (World Premiere Performance)

Billy's mother and an endangered princess are both played by Erica Schuller, who sings them with clarion purity.

— Paul Kosidowski, Milwaukee Magazine

As Billy's mother, soprano Erica Schuller sang with gleaming brilliance into her high range.

— Rick Walters, Shepherd Express

Supporting Brotherhood's Billy, the acclaimed Cassandra Black (Snow Dragon), a concerned Colleen Brooks (Dora Marx) and ethereal Erica Schuller (Princess/Joan) surround Billy with feminine power and protection through a range of magnificent arias and sensational stage personas.

— Peggy Sue Dunigan, Broadway World

Erica Schuller is charming as Billy's foster mother and fallen country princess.

— Michael Proudfoot, Bangkok Post

Livietta e Tracollo, 2014, Boston Early Music Festival

Juxtaposing the works in this way kept the afternoon's pacing lively, even if it underlined some of the redundancies and stock plot devices between the two. Yet even these one hardly minded given the quality and vibrancy of the singing from Amanda Forsythe and Erica Schuller (sopranos), Douglas Williams (bass-baritone), and Jesse Blumberg (baritone)

— Jeremy Eichler, The Boston Globe

As Livietta, Erica Schuller's soprano shimmered.

— Richard Peters,

The country girl Livietta was played by the lovely, funny, and beautiful-voiced Erica Schuller.

— Susan Miron, The Arts Fuse

Soprano Erica Schuller looked less like a peasant girl than a high-born beauty in disguise...she has an attractive, large, resonant voice.

— Charles Warren, The Berkshire Review for the Arts

The four singers - Amanda Forsythe and Douglas Williams in Serva, Erica Schuller and Jesse Blumberg in Livietta - executed their roles with unfailing comic aplomb... I was also delighted by Schuller's clear and perfectly articulated execution of arias...

— David Schulenberg, The Boston Musical Intelligencer

Gli Equivoci nel Sembiante, 2014, Haymarket Opera Company

...Erica Schuller as Lisetta is on fire from the get-go. She immediately captivates the audience with her soaring soprano, vivacious personality and expressive gesticulations.

— Barnaby Hughes, Stage and Cinema

Pimpinone, 2013, Haymarket Opera Company

The lively personality, abundant charm and luscious vocalism Schuller brought to her portrayal of the ambitious Vespetta were no less winning. Given the formidable feminine wiles this heroine commanded, you could easily understand why her gullible codger of a husband was outsmarted at every turn.

— John von Rhein, Chicago Tribune

Soprano Erica Schuller handled the runs of her part and the cunning and often two-faced nature of her character with perfect ease...both singers navigated the back-and-forth between singing in Italian and speaking in German as if they worked for the United Nations.

— Andrew Patner, Sun Times, Chicago

The quality of the work and the performance was so extraordinary on every level, you almost had to pinch yourself...Vespetta, exquisitely portrayed by soprano Erica Schuller, is a disgruntled, manipulative chambermaid who is on the prowl for a better station in life via marriage.

— Dennis Polkow, Chicago Classical Review

Fidelio, 2013, Skylight Theatre

The men in this play are all fine singers, but its two women, Cassandra Black as Leonore/Fidelio and the beautiful and delicate Erica Schuller, who stand tallest...Schuller, in the role of the damsel who falls for Fidelio, has a winsome seductiveness about her and a playful side, giving freedom to let her voice soar.

— Dave Begel,

Erica Schuller's Marzelline, sung with beauty and sweetness, was another highlight.

— Jonathan Richmond, International Opera Magazine

Everything about this Fidelio flattered soprano Erica Schuller as Marzelline, daughter of the jailer Rocco. She, in turn, flattered it with beautiful singing, crisp diction and complete command of her ingenue character. Singing of her crush on the boy Fidelio, she moved gracefully with three female dancers who echoed and playfully mocked her.

— Jim Higgins, Journal Sentinel

Isn’t it Romantic, 2012, Florentine Opera

Erica Schuller’s rich soprano shone in Franz Lehar’s The Merry Widow Waltz, with Dan Richardson, and in her elegant solo, Meine Lippen sie kussen so heiss, from Lehar’s Giuditta.

— Tom Strini, Third Coast Digest

Winter Series, 2012 Milwaukee Ballet

Pianist Steven Ayers with singers Erica Schuller, Kristen DiNinno, Matthew Richardson and Dan Richardson, also known as the Florentine Opera Studio Artists, performed the songs live with skill and sincerity, a perfect complement to the dancers above and behind them.

— John Schneider, Express Milwaukee

Messiah, 2011, Milwaukee Symphony Orchestra

We know soprano Erica Schuller, a local girl in her second year as a Florentine resident. Her voice is getting bigger and richer, but she still sounds effortless.

— Tom Strini, Third Coast Digest

Messiah, 2010, Milwaukee Symphony Orchestra

Schuller smiled her way through the spectacular coloratura fireworks of Rejoice Greatly, and the whole crowd smiled with her. Her wonderful singing both expressed and prompted joy.

— Tom Strini, Third Coast Digest

L’Italiana in Algeri, 2010, Florentine Opera

Erica Schuller brought grace and strength to both vocal deliveries and her characterization of Elvira.

— Elaine Schmidt, Milwaukee-Wisconsin Journal Sentinel

Young Erica Schuller, one of the Florentine’s Opera Studio Artists for the year, played Elvira, Mustafa’s chief wife, as the other side of feminine guile: The swooning, long-suffering martyr. She learns some new tactics from her supposed Italian rival, and it’s fun to watch the lessons sink into her body and attitude…Glavin’s forceful bass suited Mustafa exactly, as Schuller’s sweet, rounded sighing phrases embodied Elvira

— Tom Strini, Third Coast Digest

L'incoronazione di Poppea, 2009, Boston Early Music Festival

Ross Hauck, Nell Snaidas, Erica Schuller, Deborah Rentz-Moore, Aaron Sheehan, and Zachary Wilder were among the singers who took up the smaller roles with skill and grace.

— Jeremy Eichler Boston Globe

Before Bach: A Family Portait", 2008, San Francisco Bach Choir

Schuller was featured in Krieger’s An die Einsamkeit, a poignant, yet gentle ode to loneliness. Partnered eloquently by Jamason on the organ, Schuller sang sensitively, with consummate stage presence. Her voice has an almost creamy quality in its lower register. The bright quality of her upper register was a bit overpowering in this intimate scoring, though it worked beautifully with the orchestra

— Kaneez Munjee, San Francisco Classical Voice

Johannes Passion, 2008, San Francisco Bach Choir

her gossamer interpretive style went well with the text’s meaning.

— Joseph Sargent, San Francisco Classical Voice