SOPRANO

Humperdinck HANSEL AND GRETEL – San Francisco Opera

“Gretel was soprano Heidi Stober who brought infectious energy and fine singing to her role.”

Michael Milenski, Opera Today (November 2019)

“Hansel and Gretel themselves, sung by mezzo-soprano Sasha Cooke and soprano Heidi Stober, more than carried the show. Each sang in festive holiday offering, and together they were more than double…Stober was an adorable Gretel. She bounced and leaped singing with merriment and gusto, playing a perfect companion to the brother she attended.”

Lois Silverstein, Operawire (November 2019)

Stravinsky CANTATA – Los Angeles Philharmonic

“The Master Chorale gave poignant point to Stravinsky’s Mass, while soprano Heidi Stober and tenor Andrew Staples were compelling soloists in a brilliant performance of the 1952 Cantata, based on 15th and 16th century English texts.”

Mark Swed, LA Times (April 2019)

Handel ARIODANTE – Chicago Lyric Opera

“The best singing among the women in the cast came from Heidi Stober as Dalinda. She was a compelling dramatic presence throughout and brought some much-needed verve and panache to her showy arias, tossing off the coloratura in fleet, vivacious style while bringing expressive depth to the conflicted character.”

Lawrence A. Johnson, Chicago Classical Review (March 2019)

Strauss ARABELLA – San Francisco Opera

“Von Hofmannstahl twisted the swain from pastoral poetry into a cross dressed soprano, here San Francisco Opera house soubrette Heidi Stober who gave a quite effective account of Zdenka who loves Arabella’s rejected suitor Matteo, however Zdenka is first known as the boy Zdenko who is Matteo’s best friend (you had to be there). Mme. Stober’s charming trouser role presence abetted by fine singing well matched the maestro’s need for a big house, tongue-in-cheek shepherd/ess. ”

Michael Milenski, Opera Today (October 2018)

Verdi UN BALLO IN MASCHERA – Semperoper Dresden

“Soprano Heidi Stober, as Oscar, was excellent. She was a true Puck, darting around the stage while singing and smiling and conning and coining a fresh thread among the others. She did the job the libretto asked for and more, mainly because her presence on the stage kept us aware of the structural cohesion. She sustained the narrative in the first act by convincing Gustavo not to banish Ulrica, and then in the final act by providing the clue to Gustavo’s disguise. Her voice reached high amplitude, and she came across as cherished.”
Lois Silverstein, Opera Wire (May 2018)

Bizet CARMEN – Deutsche Oper Berlin

“American soprano Heidi Stober is a self-confident Micaëla, with dulcet tones.”
Zenaida des Aubris, Backtrack (January 2018 )

“The remainder of the cast reflected the high standards of the house.  Heidi Stober was a very musical Micaëla, phrasing her music with love and affection. ”
Opera Traveller (January 2018)

Handel GIULIO CESARE – Houston Grand Opera

“There may not be an exact vocal parallel to platinum blonde, but soprano Heidi Stober’s mix of silvery gleam and a tinge of warmth came close. The sleekness and lilt she gave “V’adoro, pupille” projected the temptress’s allure beyond the footlights. And the surges of fervor Stober lavished on the serious moments–such as Act 3’s “Piangerò”–showed that Cleopatra had a heart.”
Steven Brown, Texan Classical Review (October 2017)

“As Cleopatra, soprano Heidi Stober reigned supreme with a strapping timbre you can obsess over but wouldn’t want to cross. … In this lead role, she does not disappoint.”
Sydney Boyd, Houstoniamag.com (October 2017)

“But our honors and huzzahs must fall on soprano Heidi Stober, as Cleopatra. If this isn’t a star turn, I don’t know what is. This HGO Studio alumna has been a favorite since her feisty Norina in HGO’s Don Pasquale (2006) and her Lucille Ball blond in Abduction from the Seraglio (2008). We knew she had it in her to do almost anything, but who knew she had Cleopatra in her? Not only is she a knock-out in those inspired Travis Banton dresses and that Jean Harlow marceled hair, but she sings like a dream come true. Not since Joyce DiDonato, another HGO alumna who’s gone on to international acclaim, has there been such a major discovery. Like the Astros, I predict a complete victory.”
D L Groover, Houston Press (October 2017)

Handel SEMELE – Garsington Opera

“Stober’s final showdown with Murray really grips with its tension and irony. There’s some beautiful singing. Stober, all creamy tone and gleaming high notes … ‘Oh Sleep, Why Dost Thou Leave Me’ sounds exquisite”
Tim Ashley, The Guardian (June 2017)

“Even more effective are the strong characterisations of Semele and Juno (Christine Rice). Far from being reduced to putty by Jupiter’s godliness, Semele is guided by her own desires, and Juno – amid the decidedly mortal bloating and wincing – is a force to be reckoned with. Both sing brilliantly, Stober bright-toned and ever-agile, and Rice luscious and effortlessly resonating.”
Edward Bhesania, The Stage (June 2017)

“Heidi Stober looks delectable in a wardrobe of spangled trousers, gowns and dresses, spinning a silky line to match … a splendidly sung performance”
Barry Millington, Evening Standard (June 2017)

“The soprano taking the title role needs huge stamina as Handel gives her aria after aria, on top of which Miskimmon demands a fair amount of stage movement, “Endless pleasure” sung from a constantly spinning bed. Heidi Stober threw herself into the part with tremendous vigour, coloratura runs dispatched athletically and bringing great colour to her trills … “Myself I shall adore”, Semele convinced by Juno’s magic mirror that she really is the most gorgeous creature on earth – or above it – was suitably glitzy in its vocal fireworks.”
Mark Pullinger, Bachtrack (June 2017)

Donizetti DON PASQUALE –  San Francisco Opera

“Soprano Heidi Stober springs to new heights as Norina in Don Pasquale at San Francisco Opera. With her opening night performance Stober marked a smashing entrance into bel canto opera and sparked what looks like a long-term association with composer Gaetano Donizetti and friends.”
Sean Martinfield, Huffington Post, (October 2016)

“Norina … was Heidi Stober, who has become a familiar face here for soubrette roles. Since her 2010 San Francisco Opera debut as Sophie in Werther, she’s been busy: Susanna in Le nozze di Figaro, Atalanta in Xerxes, Pamina in The Magic Flute, Nannetta in Falstaff, Magnolia in Show Boat, Oscar in Un ballo in Maschera, and Johanna in Sweeney Todd … Her creamy soprano rose to secure high notes at the climax of arias. She was at her best, however, in the lovely duet, “Tornami a dir che m’ami,” her lyric sound weaving seamlessly with Brownlee’s.”
Harvey Steiman, Seen and Heard International, (October 2016)

“In the only female role, soprano Heidi Stober was far from outnumbered by the gentlemen. Her clear, honeyed, weighty voice sounded great as Norina transformed from demure single gal to alpha bride (wearing a Pelly-designed strapless black-and-tangerine cocktail dress) bossing around the hapless Don Pasquale.”
James Ambroff-Tahan, San Francisco Examiner, (September 2016)