December 2014: Featured in The Register-Guard (Eugene, OR)
April 2013: Photo in the Detroit News as Marzelline in Michigan Opera Theatre's Fidelio
December 2012: Featured in The Register-Guard (Eugene, OR)
November 2012: Michigan winner of the Metropolitan Opera National Council Auditions
October 2012: Featured in the Syracuse New Times
CLORINDA, La Cenerentola at Opera Roanoke
"Cenerentola’s stepsisters — played with elegance, vocal ability and excellent timing by Angela Theis (Clorinda) and Kathryn Kelly (Tisbe) — were hilariously selfish, barely able to stop quarreling with each other long enough to hurt the heroine."
-The Roanoke Times, Matthew Franke, March 2015
"As Cenerentola’s other spoiled stepsister, soprano Angela Theis was also a consummate mistress of Rossinian comedy, launching Act One with a lively 'No, no, no, no: non v'è chi trinciar sappia così leggerissimo sciassè.’ She took the high line in ensembles with poise, showing off a fine top B, and her singing of 'Ah! Parlar, pensar vorrei, parlar, pensar, non so' and Clorinda’s string of sustained top As in the Act One Finale was first-rate. Her voice shone in the Sextet in Act Two, and she gave a fine, genuinely funny performance of her aria, also the work of Luca Agolini, 'Sventurata! sventurata, sventurata! mi credea comandar, comandar seduta in trono,' capping the vocal line with solid top B♭s. "
-Voix des Arts, Joseph Newsome, March 2015
ADINA, L'elisir d'amore at EUGENE OPERA
"Adina, played by Angela Theis, allowed the youthful ring in her voice to charm the audience despite her character's admitted capriciousness...She was incredibly enjoyable to watch, primarily because every physical gesture she made was linked to a musical gesture she was making with her voice."
-The Register-Guard, Heather Homquest, January 2015
Mabel, Pirates of Penzance at Eugene Opera
"Angela Theis was marvelous in the coloratura role of Mabel, Frederic’s beloved. The key to spoofing opera is being able to sing like an opera star. And in her signature aria, Theis warbled as beautifully as any Lucia di Lammermoor. Her voice is light, but her flexibility and high notes carried the day."
-The Register-Guard, Marilyn Farwell, December 2012
Beth, Little Women at Utah Opera:
“Theis’ dying scene in Act II was heart wrenching and poignant without a hint of sentimentality.”
-Edward Reichel (formerly of Desert News), March 2011
“Sopranos Angela Theis and Donna Smith give musically and dramatically solid performances as Beth and Amy, respectively.”
-The Salt Lake Tribune, Catherine Reese Newton, March 2011
Zerlina, Don Giovanni at New England Conservatory:
“Angela Theis was a bright, bold, and beguilingly sung Zerlina.”
“…Still, there were moments when the student talent and initiative trumped all obstacles. Minimal staging finally let the chemistry between Zerlina and Masetto shine through during Theis’s touching rendition of “Vedrai, carino.’’
-The Boston Globe, Matthew Guerrieri, March 2010
“Angela Theis was well suited to the role of Zerlina. Her fetching voice and fluid coloratura sparkled in the final section of “Batti, batti” and provided soothing balm in “Vedrai carino.” Her saucy, fun-loving characterization led quite naturally to Masetto’s jealousy, but it was balanced by her touching devotion to him in the end.”
-The Boston Musical Intelligencer, Geoffrey Wieting, March 2010
Marguerite, Faust 1859 at Opera Notre Dame:
"Theis shines throughout, and her Marguerite steals the show from Faust perhaps even more than Mephistopheles does. Theis not only possesses a voice which conveys power and vulnerability with great effect, she is also the strongest actor onstage."
-South Bend Tribune, Jack Walton, April 2008