"Every note sung and every stage gesture from soprano Lindsay Ohse delighted. Clearly, she was of one mind with [director] Smith Belcher assuring this tragedy had air under its wings. The voice was clean, clear and powerfully stratospheric. Her defining aria – "Caro nome che il mio cor" (Sweet name- you who made my heart) in sympatico with Buchalter’s conducting- stopped the worries of the world for a brief moment."
Ala Carte Productions, April 23, 2022
"...alors que les deux nièces excellentes de Lindsay Ohse et Emily Pogorelc sont dessinées à traits un peu appuyés par la mise en scène, mais constituent un trio vraiment marquant avec Claudia Mahnke, qu’on en présente plus, en Auntie propriétaire du pub et un peu louche."
Wanderer, April 4, 2022
"Especialmente inspirados estuvieron los personajes secundarios como... Auntie y sus dos sobrinas (Claudia Mahnke, Lindsay Ohse y Emily Pogorelc). Su papel de representantes del pueblo los hace imprescindibles como contraparte dramatúrgica de Grimes, y en la tarde del domingo todos estuvieron brillantes."
ÓperaActual, March 9, 2022
"As Sandrina-Violante, the giardiniera, Lindsay Ohse rightly dominated the show. Physically supple and graceful, vocally bright yet modulated, her acting convincing and affecting, she took place well in ensembles, responding well in duet, emoting persuasively in a wide range. Her Act II mad scene with Ciluffo, — they become bestial Greek gods, bewildering the rest of the cast — was hilarious yet insane enough to be a little scary. Like many of the cast, she has coloratura, trill included, and beauty of tone."
San Francisco Classical Voice, July 30, 2019
"Soprano Lindsay Ohse (as Sandrina/Violante) stole every moment she was onstage, wavering between put-upon frustration, lovestruck wonder, and stern authority."
Portland Mercury, July 16, 2019
"Lindsay Ohse was simply spectacular in the role of Cendrillon, or Cinderella. Not only did she look the part with her all-American beauty, she plied her golden sound with flexibility, nuance and expressive passion. Her lyricism matched her character."
Rutland Herald, June 3, 2019
"The star of the evening, and she certainly wouldn’t let you forget, was Musetta. Expertly sung by Ohse, “Quando me’n vo” was intimate and seductive to the final chord."
Anchorage Daily News, April 11, 2019
"Lindsay Ohse, Albuquerque’s Norma, is a soprano with a pure, crystalline top, but she also has rich lower notes which add dramatic heft to her performance. The wide range allows her to mine the complexities of the character, and Ohse’s Norma did demonstrate that character complexity both vocally and histrionically—from love to nostalgia to anger to fear to resignation and acceptance. She ranges from trying to murder her own children to grand nobility, and Ohse did it all beautifully. She also beautifully managed the famous hurdles of the role of Norma—constant stage presence, her most famous aria without a chance to warm up to it, exposure without orchestra cover, superhuman breath control and seamless legato."
OperaPronto.info, April 15, 2018
"Soprano Lindsay Ohse dazzles [as Norina] with her stunningly beautiful, strong, breathtaking voice. Every phrase she sings is crystal clear and easily heard from anywhere in the 700-plus capacity Discovery Theater. Not only that, but she positively owns her role, with acting chops that should make even non-singing performers green with envy. Ohse manages to create a character with many facets; this is no one-note portrayal. Ohse is definitely one to watch."
Anchorage Press, November 9, 2017
"Soprano Lindsay Ohse was a consummate Semiramide who brought a stunning technique to the role, impressing not only with her command of coloratura but with her range and the strength of her middle and lower registers. She also managed to infuse this unlikable character with a touch of humanity as evidenced in her delight in her new found love of Arsace."
NewsWorks.org, May 2, 2017
"Lindsay Ohse brought accomplished control and a bright, pretty sound to Semiramide, taking some of the Sutherland options in interpolations, upward cadenzas and transpositions. Her passagework was impressively fleet and precise, and she moved with grace and command."
Opera News, July 2017
"Lindsay Ohse assumed the title role, which was rescued from neglect in the 1960s at La Scala by Joan Sutherland. Ohse handled all the demanding trills, leaps, scales, staccato, and legato just fine. What’s more, she showed some qualities Sutherland never commanded: Sexiness, a rich middle register, and strong articulation. "
Broad Street Review, May 2, 2017
"Soprano Lindsay Ohse sang Amenaide, a strong woman in any time period, easily managing the soaring challenges of the role – and there are many – in defense of her character's innocence. Her long aria in the second act brought to mind the final scene in La Donna del Lago where the winner takes all. Ohse opened up with more lyricism and relaxed into the role as the evening progressed. One wonders, in fact, why this opera was not titled "Amenaide" since the greater part and deeper introspection stems from her role. "
LA Opus, October 28, 2016
"I was particularly struck by Lindsay Ohse’s crystalline, pure soprano as Amenaide. She is a striking, tall woman who commands the stage, and her voice blended beautifully with Ms. Johnson’s Tancredi in their melting duets. Both of these ladies were world-class in the opera’s New Mexico premiere. "
OperaPronto.info, October 26, 2016
"Amenaide, played by Lindsay Ohse, brought her passionate and at times tragic story to life through glorious music and a compelling story with each beautifully executed song. Making her debut at the Baltimore Concert Opera, Ohse’s performance was impeccable, telling her story with her voice and her facial expressions."
Maryland Theater Guide, October 1, 2016
"Brilliant best describes coloratura soprano Lindsay Ohse’s performance as Marie on Sunday, as she articulated the pyrotechnics as well as the lyricism beautifully. And she was a delightful comic actress to boot."
The Barre Montpelier Times Argus, August 2, 2016
"Lindsay Ohse inhabited the role with an apple-cheeked, tomboyish delight, swaggering around the stage with the soldiers. She also demonstrated a lovely coloratura soprano voice, from first to last."
Valley News, August 2, 2016
"Ms. Ohse was a revelation. Her singing was above and beyond...It was unquestionably worthy of a brava performance at Carnegie Hall, Lincoln Center, Los Angeles’ Walt Disney Concert Hall, etc. She projected her beautiful, clear, gorgeous voice so it was well heard throughout the large hall. Her striking singing was matched only by her stunning appearance in an elegant ecru gown. And as she sang, she continuously, consistently presented a million-watt smile."
Performing Arts Reviews, December 3, 2015
"Lindsay Ohse’s bright soprano complemented [baritone Liam Bonner] well as a believable Magnolia who avoided the easy trap of overdoing her naïveté."
Opera News, May 5, 2015
"Lindsay Ohse created a lithe and charming Magnolia Hawks whose character turns resilient but not brittle later in the show as the wife of the gambling-man, Gaylord Ravenal"
Northwest Reverb, May 5, 2015
"But even more goes right, including a smart and sassy performance by former company resident artist Lindsay Ohse, whose career is beginning to blossom, as romantic lead Magnolia."
Oregon Arts Watch, May 3, 2015
"Veteran opera-goers usually expect a fairly Rubenesque Donna Anna. Lindsay Ohse is anything but, portraying an aspiring actress...Ohse’s singing carries an ardent sensuality even turning vocal ornamentation into characterization. "
Albuquerque Journal, October 22, 2013
"Soprano Lindsay Ohse steals the show with her vindictive prom queen take on the evil sorceress Armida...whose ego can’t handle rejection, and whose singing is sly, soaring, and gorgeous."
Portland Monthly Mag, March 17, 2013
"As is so often the case, the villain gets the juiciest parts, and soprano Lindsay Ohse makes the most of it as the scheming sorceress Armida, blowing into the opera like a well-tempered hurricane. The squall is welcome and invigorating: good thing she and Argante are spared at the end, even if they have to convert to Christianity so they can live happily ever after."
Oregon Arts Watch, March 19th, 2013
"As the sorceress Armida, soprano Lindsay Ohse was thrilling both in her high-flying entrance and her second-act lament."
Oregon Live, March 16, 2013
"...Soprano Lindsay Ohse [sang] music of Handel, Schubert (accompanied by Todd Kuhns’s sweetly nuanced clarinet), Strauss and more, including a sassy showstopper by Leo Delibes (“The Girls of Cadiz”), a bleaker Britten song cycle (“On This Island”) and some fascinating rarities by Alberto Ginastera... Teeming with commendably non-standard repertoire, the fascinating program seemed designed to show off the singer’s versatility, and displayed Ohse’s confident theatrical delivery and expressive face and body... Her winning manner proved thoroughly persuasive. She’s a potential star."
Oregon Arts Watch, October 24, 2012
"Young soprano Lindsay Ohse presides over one of the opera’s loveliest scenes in the vocally soaring role of Galileo’s beloved daughter, Maria Celeste."
Seattle Crosscut.com, April 3, 2012
"Lindsay Ohse beguiled as Galileo's daughter Maria Celeste and as the Duchess Christina."
Oregon Live, April 1, 2012
"Portland Opera last week did offer cause for optimism about classical music’s future... Last week's showcase for soprano Lindsay Ohse revealed an actress with real stage presence and terrifically expressive facial and physical presentation. She’s got the vocal chops, too, with maybe a little work needed to smooth out the transition from softer passages to her big guns in louder expressive passages. But Ohse, clad in a sea blue gown, sounded ready for prime time now, moving effortlessly from portraying a corpse to a tipsy music fan in successive songs by the great 20th century French composer Francis Poulenc, and confidently from French to Russian to German in music by Rachmaninoff and Mozart, in one case assuming the character of a lusty shepherd boy. As usual, PO assistant director Robert Ainsley provided informative program notes, insightful stage comments and sensitive accompaniment. These free programs at the Portland Art Museum are real treats."
Oregon Arts Watch, February 4, 2012
"Lindsay Ohse contributed a charming and characterful Barbarina."
Seen and Heard International, November 8, 2011
"Constance, portrayed in these performances by soprano Lindsay Ohse...opted for a more forward vocal production...At best, the sound soared through the auditorium with a crystalline, pointed tone, which characterized her opening scene with in act one and culminated in the lovely phrases “I did not think what I said would give offense”."
NewOutPost.com, July 24th, 2011
"Lindsay Ohse's Anne Putnam [was] viciously poisonous and seductively seething."
Longboat Key Observer, March 9, 2011
"Lindsay Ohse, a studio artist, stood out for her compassionate and reverberating Viclinda."
Longboat Key Observer, March 2, 2011
"...Lindsay Ohse delivered the Queen of the Night's arias with panache."
Wall Street Journal, March 24th, 2010
"Soprano Lindsay Ohse as the Queen of the Night offered a dazzling, crystal-clear
Palm Beach Arts Paper, March 24th, 2010
"Lindsay Ohse took on the treacherously stratospheric role of the Queen of the Night with vengeance."
Longboat Key Observer, Wednesday, February 26th, 2010
"Soprano Lindsay Ohse as the Queen of the Night has only two appearances to make her impact and the central aria in each is a real killer. Ohse commanded the treacherous coloratura – fast and high...She was convincing through, and one felt quite sorry for Pamina after the venom of “Holle Rache.”"
Sarasota Herald-Tribune, Monday, February 15th, 2010
“…Lindsay Ohse sparkled as Gianetta.”
Opera News, October 2008
“The performance of … Lindsay Ohse (Laetitia), [was] musically and dramatically first-rate.”
Lawrence Journal World, November 18, 2006
“Standing out among this wonderful cast were the stars of the show, Tyler Simpson as Figaro and Lindsay Marie Ohse as Susanna, his bride-to-be… Equally comfortable on stage was Ohse, a soprano with a crystalline, agile voice that is tailor-made for this type of Mozart role. With a voice that projects as effectively as her acting, Ohse conveyed everything from girlish charm to jealous outrage with an intensity that carried to the back row.”
Lawrence Journal World, Saturday, May 6, 2006