Birtwistle - Punch and Judy - Judy -English National Opera/Young Vic

 

"Lucy Schaufer is luxury casting as Judy/Fortune."
(The Sunday Times)

"(Edward) Gardner brought out a hitherto unsuspected anguish and melancholy in the piece. Nowhere was that more evident than in the heartbreaking lament sung towards the end by Lucy Schaufer's outstanding Mrs Punch."
( The Times)

"…one recalls Judy's poignant reflections in Lucy Schaufer's portrayal…”
( The Opera Critic)

"The insouciance of the little motif with which Punch shrugs off each murder strikes a vivid contrast with the murdered Judy's plea for Punch's reform, sung by the versatile American mezzo Lucy Schaufer."
(Opera Today)

Humperdinck - Hansel and Gretel - Hansel - Los Angeles Opera

 

"superbly dispatched, Mezzo-soprano Lucy Schaufer, whose Cherubino was a highlight here last season
also proved an impressive Hansel, showcasing a suitably innocent, clear tone and convincingly portraying
the young boy's impish nature."
(Opera News)

 

"Mezzo-soprano Lucy Schaufer was absolutely marvelous as Hansel. Her voice was solid,
but what made her performance so invigorating was her child-like awe. Dressed in the German Lederhosen
of the time, she jumped, frolicked and somersaulted on the stage like an acrobatic pro. Every movement had
intent and purpose. Every word was delivered with clear enunciation. No one could have played the part better."
(Operaonline.us)

 

Mozart - Le Nozze di Figaro - Cherubino - Los Angeles Opera

"The standout among the principals was mezzo-soprano Lucy Schaufer, who caught fire as Cherubino, bringing the hormonal teen to life with vocal and dramatic intensity reminiscent of her triumph here as Erika in last season’s Vanessa.”
(Opera News)

“Chief among these, in terms of audience delight, is Lucy Schaufer as the diminutive, pheromone-driven Cherubino: She's remarkably convincing as a teenage boy, even more so as a splendid, lyric mezzo-soprano.”
(Variety)

“Lucy Schaufer, a rapscallion Cherubino, was the exciting fly in the ointment.”
(The Los Angeles Times)

“Lucy Schaufer's Cherubino had the right amount of adolescent single-mindedness and delivered a modulated, controlled and quite affecting "Voi che sapete."”
(The Orange County Register)

“In the role of Cherubino, the teenage pageboy who is just discovering love and pursues all the women in the household, Lucy Schaufer is a wonder. She is small and athletic, looks every inch a boy and has a sense of sly fun. Moreover, she sings with delicacy and shimmering detail in two of Mozart’s most lovely and touching arias.”
(U-Entertainment – Press Telegram)

 

 

Domingo & Friends: Los Angeles Opera’s 20th Anniversary Gala

“Lucy Schaufer, as Prince Orlofsky, was the evening's most alluring singer.”
(The Los Angeles Times)

 

 

Canteloube - Songs of the Auvergne - New York City Ballet

“Lucy Schaufer is one of the most interesting and enticing solo vocalists in the classical genre. She almost looked like a ballet dancer, with diminutive physique, and her ingénue qualities matched the country folk ambiance quite effectively…
Kudos to Lucy Schaufer for singing with such splendor.”
(ExploreDance.com)

“The mellow soprano Lucy Schaufer strolled in front of Alain Vaes's hazy backdrop of hills and clouds to open the ballet, attended by a gaggle of very cute children.”
(The New York Times)

“The ballet's evocation of village customs, pastimes, and romances certainly has its quotient of kitsch, but on Thursday it was all very pleasant, abetted by mezzo-soprano Lucy Schaufer's purling delivery.”
(The New York Sun)

 

 

Bernstein - On the Town - Clare de Loone - English National Opera

“Lucy Schaufer's robustly funny yet also heart-stopping Claire de Loone and Howar's buoyant, irrepressible Ozzie – are well worth rooting for. Schaufer's perf as the libidinous anthropologist is the production's standout.”
(Variety)

“Schaufer’s “We’ll catch up some other time” is as hauntingly poignant as Vera Lynn singing “White Cliffs of Dover.”
(The Independent)

“Lucy Schaufer sings beautifully as the anthropologist Claire de Loone. She’s the best of the legitimate opera singers involved in the show.
(The Sunday Times)

 

 

Tippett - The Knot Garden - Thea - Music Theatre Wales and ROH2

“As Thea, Lucy Schaufer sang with authority, and her acting gave the role of self-contained,
semi-abandoned wife depth and dignity.”
(The Sunday Telegraph)

“…Lucy Schaufer's radiantly sung Thea.”
(The Financial Times)

“Lucy Schaufer – so good in ENO’s On the Town – is terrific here: great presence and real engagement against the odds.”
(The Independent)

 

 

Barber - Vanessa - Erika - Washington National Opera, Washington DC

 

“Schaufer sang and acted the role of Erika with impassioned brilliance.”
(The Washington Post)

“Lucy Schaufer, as the heartsick niece Erika, gave a performance of star quality. The mezzo produced an unending stream of superbly shaped, sensitively shaded notes and breathed potent life into Menotti's lines. During the New Year's Eve scene, Schaufer’s detailed acting brought Erika’s conflict over the unwanted pregnancy into uncomfortably sharp relief.
(Opera News)

"But it remained for the evening's Erika, a splendid young soprano named Lucy Schaufer,
to provide 'Vanessa' with the necessary heat."
(The New York Times)

 

 

Barber - Vanessa - Erika - Los Angeles Opera

"With her vast expressive range, superb dynamic control and bright tone, Schaufer gave a dazzling musical performance.
Her account of the Act I “Must the winter” was beautifully shaped and infused with a repressed ardor that made
a convincing case for Erika’s subsequent dalliance with Anatol.
As the opera unfolded, Schaufer thrilled the audience with her intensifying portrayal of a young woman torn ever deeper between her devotion to Vanessa, her lust for her aunt’s lover and the consequences of her pregnancy.
Her gutsy fall down the grand spiral staircase that dominated Paul Brown’s elegantly icy set made for a riveting Act II climax.”
(Opera News)

 

“As in Washington, Schaufer was the true vocal standout, her dark mezzo appropriately haunting throughout the evening.”
(Opera)

 

Barber - Vanessa - Erika - Opéra de Monte-Carlo

“ Autres voix magnifiques: Lucy Schaufer. Inoubliable Erika, sa voix longue et flexible s’adapte sans peine au rôle de cette nièce troublée, bouleversée, désespérée, exigeant un grave charnu et un aigu tranchant.
Que ses vocalises sont sûre et sa technique irréprocable!”
(Nice-Matin)

“ L’Erika de Lucy Schaufer est émouvante et bien chantante.”
(Le Monde)

 

 

“ Diese Partie der Erika ist, wie bei Strauss die Zdenka, eigentlich viel interessanter als die titelgebende Madame,
und Lucy Schaufer lässt sich die Chance nicht entgehen.”
(Opernwelt)

“Das nun gelang der jungen Lucy Schaufer in der Rolle der Erika auf Anhieb. Die Sängerin besitzt einen flexiblen, kräftigen Mezzosopran, den sie gestalterish treffend einsetzte, sowie schauspielerische Fähigkeiten,
die es ihr ermöglichten, eine Charakter glaubhaft entstehen zu lassen.”
(Das Opernglas)

 

 

Barber - Vanessa - Erika - Opéra du Rhin, Strasbourg

“Impeccablement conduit, le chant de la mezzo Lucy Schaufer, qui incarne Erika, émeut par une fraîcheur qui a légitimement conquis les suffrages du public à triomphé dans l’air Must the winter come so soon.”
(L’Alsace)

“..tandis que Lucy Schaufer en Erika lui vole quelque peu la vedette avec une très beau timbre, un chant parfait et une incarnation très sensible du personnage de la jeune fille insouciante se transformant en femme décidée.”
(Forumopera.com)

 

 

Handel - Xerxes - Amastris - English National Opera

“Disguised as a swaggering soldier, Amastris (Lucy Schaufer) sings her heart out with scene-stealing vehemence as she learns the extent of Xerxes' duplicity.”
(The London Times – Literary Supplement)

 

“Lucy Schaufer ably negotiates the treacherous depths of the King’s long-suffering betrothed Amastris.”
(The London Times)

 

“Mezzo Lucy Schaufer brings an almost Judy Garland-like punch to her determination to get her man back."
(The Independent)

 

 

Handel - Giulio Cesare - Sesto - Opéra de Monte-Carlo

“Lucy Schaufer’s impetuous Sesto seemed comfortable in the soprano tessitura, and her duet with Banditelli at the
close of Act 1 was a highlight.”
(Opera)

 

 

Massenet - Werther - Charlotte - Bühne der Stadt-Köln

“Doch die perlende Stimmkraft und darstellerische Intensität von Lucy Schaufer riss den…allmählich mit.”
(Kölner-Anzeiger)

 

 

Prokofiev - L’Amour des Trois Oranges - Sméraldine - Bühne der Stadt-Köln

“…und Lucy Schaufer reissen den Dämonenschlund gar kräftig und weit aufsuperb.”
(Kölner-Anzeiger)

 

 

Wallace - Hopper’s Wife - Ava - Long Beach Opera, California

“Schaufer was extraordinary as Ava, vocally and physically. She sang a difficult aria splendidly standing nude in a bubble bath, which deserves a place in the operatic hall of fame.”
(The Orange County Register)