PRESS
Nights in Venice/2023/Apollo's Fire
"Soprano Erica Schuller, a standout all night, gave a stirring invocation, her robust soprano sensitively attentive to the text’s affective shading.
Schuller was similarly accomplished in the swaying variations of Frescobaldi’s “Se l’Aura spira tutta vezzosa” (from Book I of the 1630 Arie musicali collection). She projected palpable anguish in Monteverdi’s “Lamento della Ninfa” from the Madrigals, a song of a scorned woman, and throughout provided understated acting that enhanced her significant vocal artistry."
—Tim Sawyier, Chicago Classical review
In the Castle of the Moon/2023/Newberry Consort
"Schuller’s nimble, inviting soprano lofted Sophie Elisabeth’s 'Wolauf mein Herz' and mournful arrangement of the French 'As tu encor envie.'
—Tim Sawyier, Chicago Classical review
Soprano Erica Schuller brought a bright, controlled sound with lovely phrasing. She created a marvelous sense of melancholy for Sophie Elisabeth’s
“As tu encore envie”
—M.L. Rantala, Hyde Park Herald
Bologne's L'amant anonyme/ 2022 / Cedille Records
"Erica Schuller...who pops out staccatos as if it were child's play."
—Mark Thomas Ketterson, Opera News
"Erica Schuller's crystalline clarity conveys Jeannette's youthful joy"
—Christopher Dingle, BBC Music
"Erica Schuller played Jeannette with a clean-led, clear soprano."
—Jan Krobot, Online Merker
Handel's Messiah/ 2022 / Apollo's Fire
"Erica Schuller’s silvery soprano enchanted in several numbers and floated in ‘I know that my redeemer liveth’, a number that can turn mawkish if not lifted with airy phrasing."
—Mark Sebastian Jordan, Seen and Heard International
"Erica Schuller delivered consistent power and elegance, notably in 'If God be for us, who can be against us?'"
—Landon Hegedus, Chicago Classical Review
Madama Europa in the Ganzaga Court/ 2022 / Newberry Consort
"Soprano Erica Schuller sang the part of Madama Europa...She brought dignity and calm to her performance, clearly trusting the music itself."
—M.L. Rantala, Hyde Park Herald
"Soprano Erica Schuller, recently heard in the title role of Monteverdi’s L’incoronazione di Poppea with Haymarket Opera, then took the stage as the embodiment of Madama Europa, singing Monteverdi’s “Dolcissimo uscignolo,” which fittingly describes the sweet song of the nightingale. Schuller’s light and airy voice suited the subject of the madrigal, and she navigated the punishingly high tessitura expertly. Schuller had a number of other solo opportunities in the program, giving heartfelt renditions of two Rossi songs, Cor mio, deh non languire and Tirsi mio. Schuller’s elegant phrasing made these selections a highlight, and the lower tessitura allowed Schuller’s gentle vocal color and textual clarity to come out."
—Katherine Buzard, Chicago Classical Review
Monteverdi's Vespers of 1610 / 2022 / Haymarket Opera
"Soprano Erica Schuller, who sang the title role in Haymarket’s Poppea, made a virtual operatic love scene out of “Pulchra Es” singing radiantly and with immaculate tone and expressive dedication."
—Lawrence A. Johnson, Chicago Classical Review
"The ‘Pulchra Es’ duet between Erica Schuller and Molly Netter was almost unbearably beautiful, the meaning of the text simply but devastatingly conveyed by the singers."
—Mark S. Jordan, Seen and Heard International
L'Incoronazione di Poppea / 2022 / Haymarket Opera
"Soprano Erica Schuller offered an imposing Poppea, as resolute of voice as she was convincing in her imperious stage presence."
—Lawrence B. Johnson, Classical Voice North America
"Erica Schuller possesses the charismatic stage presence and flexible soprano for the scheming Poppea who plots and murders her way to the throne, and she richly conveyed the character's seductive and manipulative qualities."
—Lawrence A. Johnson, Chicago Classical Reviews
Handel's Messiah / 2021 / Apollo's Fire
"Erica Schuller was colorful and caressing in the soprano solos"
—Mark Sebastian Jordan, Seen and Heard International
Love in Venice / 2021 / Apollo's Fire
"Monteverdi was the other giant on the program, and through him emerged another star. Twice, soprano Erica Schuller bewitched the Amphitheater with his music, conjuring with dulcet tone and poignant, shapely phrasing the onset of spring ('Zefiro Torna') and pure regret ('Alas, I Tumble Down'). In a similar vein, and no easier on hearts, was Schuller’s performance of 'What Can You Do?,' an aria by the great Barbara Strozzi."
—Zachary Lewis, The Chautauquan Daily
Apollo e Dafne / 2021 / Haymarket Opera Company
"Schuller’s charming stage—or studio—presence made the god’s romantic obsession seem wholly understandable...Schuller’s bright soprano and clear, flexible vocalism made the most of her solo opportunities as well, especially her touching melancholy in 'As in gentle heaven.'"
—Lawrence A. Johnson, Chicago Classical Review
"Erica Schuller’s Dafne was multidimensional. Her bright and vivid voice is a symbol of goodwill and unity with the world around her. When alone, her agile voice found an instrument to harmonize with on every matter and emotion, expanding and making the world around her almost tangible."
—Polina Lyapustina, Opera Wire
L'Amore: An Old Italian Valentine / 2020 / Apollo's Fire
"Schuller was breathtakingly crystalline in the concert aria ‘Che si può fare?’ by Barbara Strozzi...Judging by this passacaglia-based aria, Strozzi is due for rediscovery, as the expressive power here was nothing less than haunting, and Schuller didn’t hesitate to plumb its emotional depths.
Schuller returned in the second half for ‘Vedrò con mio diletto’ from Vivaldi’s Giustino, and her soprano flew high without any strain, somehow both gem-like and milky, as the ensemble supplied tenderly plucked notes."
—Mark Sebastian Jordan, Seen and Heard International
Wonder Women / 2019 / Third Coast Baroque
"There was no lack of dramatic investment in Erica Schuller’s rendition of Lucrezia. The soprano handled the daunting bravura challenges impressively and conveyed the emotional desperation of the victimized protagonist throughout, bringing vehement fury to her central rage aria ('Il suol che preme') against her rapist Tarquinius."
— Lawrence A. Johnson, Chicago Classical Review
Pimpinone / 2019 / Haymarket Opera Company
"Were it not for soprano Erica Schuller's hilariously exaggerated acting (and baritone Ryan de Ryke's almost-as-funny responses), 'Pimpinone' might have seemed a cardboard-thin sketch barely worthy of Telemann's meticulously crafted score...Vocally, too, Schuller was most engaging, her tone full and her articulation crisp in Telemann's ornate passagework."
— Howard Reich, Chicago Tribune
"Vespetta means 'little wasp' in Italian, and waspish aptly describes Schuller's show-stealing performance as the cunning shrew of a maidservant who wraps the hapless milquetoast Pimpinone around her little finger. The soprano's clear vocal timbre and the limpid fluidity of her coloratura are an ideal match for a winning characterization."
— John von Rhein, Chicago Classical Review
Paride ed Elena / 2019 / Odyssey Opera
"Equally well cast was Erica Schuller as Cupid. A gifted singer and comedienne, she was completely comfortable in the Early Music idiom, and an absolute delight in the role."
— Ed Tapper, EDGE Media Network
"Erica Schuller's engaging Erasto/Amore was key to that scene's success as well. With the high energy and irreverence of a gawky adolescent, she needled both Paris and Helen with snarky asides."
— Kevin Wells, Bachtrack.com
"Cupid (Erasto) was brilliantly represented as a playful young man, full of pranks and bright ideas, by Erica Schuller."
— Steven Ledbetter, Boston Music Intelligencer
Serse / 2018 / Haymarket Opera Company
"There was a standout performance from soprano Erica Schuller, whose delightfully sung, expertly interpreted Atalanta threatened to walk away with the evening."
— Mark Thomas Ketterson, Opera News
"The finest moments of the evening came from Erica Schuller as Atalanta, with the company regular bringing a welcome comic spark and vocal panache. The charismatic soprano’s theatrical rendition of Un cenno leggiadreto—in which Atalanta joyfully plots her deceitful revenge—was the high point of the three-hour show, thrown off by Schuller with vitality, easy agility and boatloads of personality."
— Lawrence A. Johnson, Chicago Classical Review
Orfeo / 2018 / Apollo's Fire
"Erica Schuller was powerful as the self-assured, clarion-toned La Musica in the prologue, while her pure, love-soaked Euridice was sweet even in her anguish."
— David Kulma, ClevelandClassical.com
"Erica Schuller was radiant as Euridice..."
— Mark S. Jordan, Seen and Heard International
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
Israel in Egypt / 2017 / Apollo's Fire
"...crystalline timbre and intelligent sensitivity..."
— Mark Satola, cleveland.com
"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, bachtrack.com
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, Cleveland.com
"...clear voiced, accomplished soprano Erica Schuller."
— Nicholas Jones, clevelandclassical.com
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
"...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, bachtrack.com
"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..."
— 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, onmilwaukee.com
"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."
— Jim Higgins, Milwaukee-Wisconsin 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 küssen so heiß,' from Lehar’s Giuditta."
— Tom Strini, Third Coast Digest
Messiah / 2011 / Milwaukee Symphony Orchestra
"We know soprano Erica Schuller...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
"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 Portrait / 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."
— Kaneez Munjee, San Francisco Classical Voice
Johannes Passion / 2008 / San Francisco Bach Choir
"...gossamer interpretive style..."
— Joseph Sargent, San Francisco Classical Voice