“ Here we had the exciting young American dramatic soprano, Susan Neves singing the technically demanding role of Odabella. She may have an old fashioned prima donna silhouette, but her lusty, full throated,vibrant voice is as ample as her figure, with a brilliant top and a powerful lower register…she laid the foundation of a vocally exciting performance in which she rode the ensembles with ease and became more subtle in her cavatina “ Oh, nel fuggente nuvolo “ where she kept a fine cantabile line….”

“Neves was a Santuzza loaded with dramatic tension and beautiful singing …”

“Susan Neves as Elena was as charismatic as ever, singing her opening aria with sweet lyricism and rising to a potent climax. Her voice is perfect for Verdi. There is clarity, injection of meaning, easy piano and, in her Act IV cantilena, she exhibited supreme control combined with emotive singing -- it is a blissful sound, produced with joy. You simply didn't want her to stop.”

“ The American soprano Susan Neves, with a vibrant and colossal voice, demonstrated her talents as an actress in the development of the complex chararacter of Giorgetta…”

“As Leonora, Susan Neves displayed an ample, luxuriant voice, capable of attaining both extremes of the dynamic range, used with musical intelligence to convey every nuance of the character…”

“...as Lady Macbeth, Susan Neves dominated the cast [...] her weighty , powerful tone sounded thrilling [...] For the sleepwalking scene, though, she found a softer tone and produced a series of extraordinary pianissimos...”

“ It is not easy to find a soprano capable of singing Abigaille, one of the most difficult roles in the early Verdi operas…Susan Neves is truly one…with a timbre most pleasing to the ear…it is necessary to highlight the attention demonstrated in the highs and lows of this role, with no loss of control, power or volume….”

“ A major part of the success was due to the Norma, Susan Neves… A singer possessing great ability with a deliverance full of dramatic intention and a beautiful powerful voice : she used her coloratura and many high notes with particular pride when she attacked Pollione… clarifying dramatically the various aspects of the role…the audience found her faultless as they applauded and bravoed her performance with great pleasure …”

“ Soprano Susan Neves was the commanding presence in the title role, the opera singer Floria Tosca, whose love for Mario Cavaradossi leads to her death. The performance by Neves was a triumph in every respect. She sang beautifully and with power.

When her voice soared above the orchestra in climactic passages, Neves provided the spine-tingling vocal excitement that opera lovers live for. Yet her projection is so excellent she can afford to sing softly, confident that every sound reaches the listeners' ears.

Neves used the fabulous range of her voice to paint an endearing portrait in sound of her character, and acted equally well in both broad strokes and significant detailed gestures. In the first act, for example, we saw and heard four aspects of Tosca: her religious devotion as well as contrasting aspects of her amorous personality - feminine sweetness, jealousy and willfulness.”