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ATTILA
“ 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….”
Opera Now, 2/2000
CAVALLERIA RUSTICANA
Santuzza: Genova, 2007 
“Neves was a Santuzza loaded with dramatic tension and beautiful singing …”
I VESPRI SICILIANI
Elena: Megaron Athens, 2003
“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.”
Opera Now
IL TABARRO
Giorgetta: Lisbon, 1997
“ One of the revelations, the young Susan Neves, (daughter of a native Portuguese), showed
a fine talent and one of the most resplendent voices I’ve had the pleasure to hear in recent
times : perfect and intentional diction ; a big voice that is also a great voice ”
Diario de Noticias, 7/1997
“ 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…”
Culture 30, 7/1997
IL TROVATORE
Leonora: Opera de Montreal, 2001
“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…”
Opera News, 5/1998
NABUCCO
Abigaille: Santiago Chile, 2000
“ Only Susan Neves, as Abigaille, gave an outstanding performance…Neves conquered her murderous
part with seemingly endless resources ; a radiant , healthy huge top and fragile pianos….”
Opera News, 7/2000
“ Susan Neves sailed through this with aplomb, her soprano astonishing not only in its dismissal
of the technical demands, but also in its sheer beauty….”
Opera Now, 7/2000
“ 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….”
La Segunda, 6/2000
NORMA
Norma: Barcelona, 1999
“ Susan Neves imposed a vital Norma, energetic , almost capricios, which she then applied
to her vocalism. She created moments of great beauty with her pianissimi and well-negotiated
mezza voce, as well as with her coloratura and powerful high notes. The metal in her voice
soared, creating great drama….”
ABC Barcelona, 2/99
“ 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 …”
La Vanguardia, 2/99
TOSCA
Tosca: Pittsburgh, 2006
“ 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.”
Pittsburgh Tribune- Review, 2006
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