"...her radiant soprano quickly grew in volume and stature, and made Oriana’s joy, rage and pathos deeply affecting.  Most telling was her heartbreaking rendition of “S’estinto e l’idol mio” and her electrifying traversal of “Ti pentirai,” where she threw herself into the music with abandon, spitting out the word “perfido” with verismo intensity.”
The Day (New London), Michael Burlingame

Debra Vanderlinde a s Rose Marie

Debra Vanderlinde as Rose Marie

“...two firm, fluent, well-contrasted sopranos, one pure, ringing, and bright....”
The Financial Times (London), Andrew Porter

“Soprano Debra Vanderlinde sang with lithe effortlessness, fine diction and pure tone.”
The Washington Post, Kate Rivers

“...radiant singing.” (Schubertiade at The 92nd St. Y Kaufmann Hall
The Village Voice, Leighton Kerner

“...a great acrobat of runs and trills, as well as a particularly good stylist.  She sang the cantata “Exsultate, Jubilate” by Mozart in a deeply sincere way as well as with inborn musicality, and did justice to Ophelia’s aria from Hamlet with real bravura.”
Visir (Reykjavik), Leifur Porariansson

“...her voice is gorgeous...every turn, every trill, every note felt just right.” (Exsultate, Jubilate)
The Birmingham News, Oliver Roosevelt


 “La Perichole was played in delightful fashion by Debra Vanderlinde, whose light soprano voice displayed a keen edge of tenderness throughout the work. Her actions appeared natural and deliberate, and her smile was dazzling.”
Chattanooga News-Free Press, Lisa Lilly Miller

“The gem of Wolf Trap’s production is a soprano named Debra Vanderlinde in the role of Laurette.  A soubrette of the sweetest type, she knew and felt what the music was about and sang it with great style.  The aria “Ne me grondez pas pour cela!” had perfect trills, a fragile vibrato and a melancholy sweetness....a heroine worth fighting for.”
The Washington Post, Octavio Roca              


“Her tone production appears effortless and she is every bit an actress in her characterization of the texts.  Her sense of pitch was flawless.  The program tested both ends of her range, with a high E cleanly flicked off near the end of the Mad Scene (from Hamlet) and a firm high D in the Benedict.  And she passed her coloratura skills tests with high marks.  She made the trills in the Bach aria an integral part of the fabric rather than an addition.”
The Birmingham News, Oliver Roosevelt


“In a brief stint as one of the two young lovers Debra Vanderlinde launches lyric flights.”
Opera News