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♦ Oliver Camacho for OperaNow! Podcast:

Thea Lobo: luxurious tone, very kind of Lorraine Hunt Lieberson / Janet Baker -like singer, very regal, very noble, and the type of singing that just goes right to the heart. It touches you so much because it's so very technically accurate, but it also has so many ideas. It's beautiful and unique...


♦ Vivien Schweitzer for The New York Times:

The music making was polished... mezzo-soprano Thea Lobo sang expressively... Mr. McIntosh joined Ms. Lobo for an ardent rendition of the love duet between Diane and Endimion...


♦ Jeffrey Gantz for The Boston Globe:

...drama without melodrama; Lobo was particularly affecting in her “Erbarme dich, mein Gott” aria.


♦ Gina Hamilton for The Brunswick Times Record:

Of particular note was the excellent voice of mezzo-soprano Thea Lobo.


♦ Joyce Tamer for the Telegram & Gazette:

Thea Lobo, contralto, was stunning in both of her solos...

♦ Jeffrey Williams for New York Concert Review:
Mezzo-soprano Thea Lobo... offered a playful rendition of The Owl and the Pussycat by Igor Stravinsky. Her Tief gebückt, the 4th movement of the Cantata BWV 199 by J. S. Bach, was exquisite.


♦ David Wright for Boston Classical Review:

Lobo’s limpid tone and easy lift were just right for this music; her voice intertwined nicely with instruments in the nine-piece ensemble even as her part became more and more speech-like in style.


♦ Cashman Kerr Prince for The Boston Musical Intelligencer:

Lobo sang with crisp enunciation and spoke the middle section in a firm voice; she has a pleasing tone and stage presence. Lobo and Drury’s Consort conveyed great sensitivity.


♦ Thomas Garvey for The Hub Review:
If I had to do a quick, back-of-an-envelope list of Bostons' best singers, Teresa Wakim, Thea Lobo, Ulysses Thomas, and Jason McStoots would all be on it.


♦ Vance R. Koven for The Boston Musical Intelligencer:

The featured soloist for this performance was the wonderful Thea Lobo, whose dusky tone and sensual throbbing vibrato gave persuasive voice to the four sung numbers in Andalusian dialect...


David Weininger for The Boston Globe:

The standouts were… [Thea Lobo’s] coolly intense rendition of “Schlafe, mein Liebster”.


♦ David Weininger for The Boston Globe:

Among the standouts were soprano Margot Rood and alto Thea Lobo...


♦ Daniel Coombs for Audiophile Audition:

Kudos to... Thea Lobo for handling the appreciable vocal gymnastics and odd moods required.


♦ Aaron Keebaugh for Boston Classical Review:
The singers… were excellent… Thea Lobo sang with a rich caramel tone… the company produces works that pack the same emotional punch and quality singing one can find in many larger companies.

♦ John Ehrlich for The Boston Musical Intelligencer:
Thea Lobo as the Second Orphan shined... Lobo’s admirable sable-smooth alto flowed richly and freely.


♦ Aaron Keebaugh for Boston Classical Review:

Thea Lobo, as the Angel who looks out for Daniel while he is in the lion's den, sang with velvety voice.


♦ Andrew Sammut for The Boston Musical Intelligencer:

The remaining soloists sang their roles and commentaries with passion as well as elegance…Thea Lobo’s rich, attractively plaintive mezzo handled Bach’s many arias for alto; her shimmering entrance alongside two flutes for the recitative “Du lieber Heiland du” was followed by a well articulated “Buss und Reu,” and “Erbarme Dich,”… a fine example of discreet gut-wrenching.


♦ Kate Stringer for The Boston Musical Intelligencer:

...the soloists gave inspired readings of their material. Soprano Margot Rood (First Fairy) and alto Thea Lobo (Second Fairy) added mellifluous vocals to the Act Two song, “You spotted snakes.” Rood’s luminous, bell-clear tone and gorgeous vibrato delighted the ear, providing a beautifully balanced contrast against Lobo’s full, darker timbre.

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