"What [she] brings to the role —
radiant brilliance, captivating cantilenas, masterful shifts in register,
glamour, and resolute energy — is breathtaking"
Marietta (Die tote Stadt) Weser Kurier
"Meredith Hoffmann-Thomson delivered a captivating portrayal of Marietta.
Her rich and beautiful soprano is characterized by its rich color and blossoming high notes.
She convincingly conveyed Marietta's lascivious and life-affirming character"
Sylva (Die Csárdásfürstin) Seen and Heard International
"Meredith Hoffmann-Thomson displayed the grandeur of the
artist as well as the more vulnerable woman.
Her voice was soaring with the full orchestra and movingly subtle in
more intimate passages, warm, rich and well positioned."
Fata Morgana (Die Liebe zu den drei Orangen) Nordsee Zeitung
"Fata Morgana [...] is given a strong presence by newly hired soprano, Meredith Hoffmann-Thomson, with
sparkling timbre and dramatic confidence."
Professor Prentice (Anthropocene) Salzburger Nachrichten
"Meredith Hoffmann-Thomson is a standout as dramatically timbered Scientist Prentice."
Agathe (Der Freischütz) Kronenzeitung
"Meredith Hoffmann-Thomson as Agathe managed to create an intimate biedermeier atmosphere with her
singing."
Ariadne auf Naxos (Ariadne) St. Louis Dispatch
"Meredith Hoffmann-Thomson has the goods ... a big, soaring voice ... fine acting skills, and she
looked beautiful"
Tosca (Tosca) Oberbayerisches Volksblatt
"her dramatic voice rich in overtones and sweet in timbre"
Wozzeck (Marie) drehpunktkultur.at
"... particularly moving ..."
Verdi Requiem Augsburger Allgemeine
"Meredith Hoffmann-Thomson has an unbelievable vocal volume and can modulate her voice fabulously
from piano to forte ... a stroke of luck for this performance."