"a powerful voice of wide range and dynamics,

with a slightly smoky timbre and a masterful transition into an ultra-rich and exciting low register."

[Classical Sonoma]

Hannah After

“Mezzo-soprano Rebecca Krouner’s Hannah After unleashed a torrent of expression, exulting in wordless curlicues of sound in joyful moments, and snarling and weeping during the violent scene.”

– Boston Globe

Mabel Bell, Voice on the Wire

“Rebecca Krouner shone as Mabel Bell, a powerful voice with a vulnerable tessitura that shaped each phrase with care.”

– The Theatre Times

Ariadne auf Naxos

“Krouner looked like an awkward adolescent in an ill-fitting suit and bowl haircut, and yet brought a surprising depth of emotion, a powerful voice, and strong sense of yearning to the moment.”

– The Boston Musical Intelligencer


“Carmen [is] played with plenty of fire and voracious confidence by mezzo-soprano Rebecca Krouner, magnificent!”



“The selection of Krouner as Carmen is perfect. She demands attention from the audience from the moment she saunters on stage in a red dress, her movement like a she-wolf prowling for her prey with a devilish grin. Krouner plays the part well, and has the voice to go with it. Her performance of ‘Habanera’ is fiery and sultry.”

– Petaluma 360


“…a sensational, fiery must-see “Carmen. At last night’s opening, mezzo-soprano, Rebecca Krouner delivered the goods! Voice, sensual pizzazz, on-stage chemistry with her leading men … a magical performance”

– ART Hound


“The Met would be lucky to have a Carmen as luscious-voiced and sexy as mezzo-soprano Rebecca Krouner, who has an impressive resume already for a young singer and is currently under contract with Opera San Jose.”

– Petaluma Patch


“Ms. Krouner is possessed of a powerful voice of wide range and dynamics, with a slightly smoky timbre and a masterful transition into an ultra-rich and exciting low register, where she has ample opportunity to demonstrate in her several arias. Perfect casting here… [Krouner} is altogether vocally, physically and temperamentally correct for the role.”

– Classical Sonoma


“Mezzo-soprano Rebecca Krouner delivered her two famous Carmen arias with smoky insouciance … bringing a beautiful legato to bear [in Act III] as she read of her own death and Don Jose’s in the cards.”

– The Republican


“The star of the show was Rebecca Krouner, whose portrayal of Azucena seethed with the intensity of the gypsy’s total dedication to avenge the death of her mother at the hands of the Count di Luna’s father … Krouner delivered a winning, very physical performance “

– Operaphile


“The audience appeared to favor Azucena as sung by Krouner. At the curtain calls they rose to their feet cheering when she took her bow.”

– San Jose Mercury News

Dritte Dame, Die Zauberflote

“The three ladies, sung by soprano Melody King and mezzos Kathleen Moss and Rebecca Krouner. were not only compelling performers, but offered a luscious blend in their trios.”


Prince Orlovsky, Die Fledermaus

“… vocal honors for the night go to Rebecca Krouner in the pants role of Prince Orlovsky, the host of the gala in Act II. She is a positive delight.”


Prince Orlovsky, Die Fledermaus

“Rebecca Krouner impressed as the free and entertainment-driven prince.”


Prince Orlovsky, Die Fledermaus

“The performances were marvelous … Rebecca Krouner’s rendition of Prince Orlofsky was both sublime and ridiculous.”


Prince Orlovsky, Die Fledermaus

“Rebecca Krouner does an unbelievable job as Prince Orlovsky, resulting in much laughter throughout the show.”


Prince Orlovsky, Die Fledermaus

“Host of the gala dinner-dance was a bored Russian nobleman, Prince Orlovsky, sung as a pants role by the svelte mezzo soprano Rebecca Krouner. Her two signature arias framed the fun of the second act.”

– San Jose Mercury News

Prince Orlovsky, Die Fledermaus

“Rebecca Krouner is another reason for seeing this cast perform.  A clear mezzo voice portraying the 18-year old Prince Orlofsky.  I had seen her last year as the even younger Cherubino in Pocket Opera’s production of Marriage of Figaro – in both trouser roles it was difficult to believe that the adolescent young male on stage (whose voice hadn’t cracked yet) was truly a mature female.  Females just don’t swagger with that particular combination of innocence and arrogance.”


Lady Ella, Patience

“… a promising Lamplighters debut.”

– San Francisco Classical Voice

Meg Page, Falstaff

“Mezzo-soprano Rebecca Krouner made the most of the underwritten role of Mistress Meg Page.”

– Daily Republic

Cherubino, Le Nozze di Figaro

“Rebecca Krouner made a very believable 14-year-old gangling boy who has already achieved his full growth.”

– LASplash