In the press

“A quartet of great voices, as homogeneous as a chamber music ensemble, that goes straight to the heart. The soprano Chen Reiss, whom Jérémie Rohrer had already engaged at the Philharmonie, is sublime. Her voice possesses a warm timbre and can move from gentleness to soaring high notes without ever losing its magnificent color. What evenness across her entire range!”

— Forum Opera

“The soloists Gerald Finley and Chen Reiss were emotionally expressive without sticking out as being theatrically operatic, as can often be the case. Reiss sang ‘Ihr habt nun Traurigkeit’ with such sweet-scented sentimentality that it bought a tear to the eye; her gleaming glowing sounds sensitively supported by chorus and orchestra.”

— Seen and Heard International

“Chen Reiss offered a poised and luminous ‘Ihr habt nun Traurigkeit’, floating phrases with ease and avoiding sentimentality. Neither soloist overstated their hand, which suited the work’s emphasis on consolation over theatrical effect.”

— Musicomh

“Reiss has a beautiful voice, very elegant, as is her bearing, with crystal-clear diction and a wide range of nuances that perfectly suited Mozart's operatic writing. And as if that weren't enough, she conquers demanding coloratura passages with very well-regulated articulation, culminating in a perfect high C.”

— ABC

“Chen Reiss revealed herself in the work as a benchmark lyric soprano, with a beautiful timbre and elegant phrasing [and] handled the coloratura with restraint and musicality, avoiding gratuitous virtuosity […] In the two operetta pieces, Reiss again displayed elegance and stylistic confidence, but it was with Lehár's Giuditta that she reached her most evocative moment, with phrasing of extraordinary sensuality and a great rapport with the orchestra.”

— Diario de Sevilla

“The success of the evening is due above all to Chen Reiss. Luminous in the two songs from Franz Schreker's Von Ewigem Leben, the soprano manages to fully distil the evanescent atmosphere of Schreker's writing through purity of line. In the same way, she delves into the Viennese style of Korngold's youthful lieder, then four excerpts from opus 9, having just recorded two other cycles by the composer on her new album 'Jewish Vienna'.”

— ResMusica

“Reiss uses her instrument with nuance, without appearing even remotely mannered. She interprets the music with a wealth of possibilities, allowing the refined late romanticism of the two songs of [Schreker's] "Vom ewigen Leben" and Korngold's "Vier einfachen Lieder" to flourish.”

— Abendzeitung

“An ideal setting into which soprano Chen Reiss, with a like-minded attitude, fits wonderfully. Reaching the dreamy through utmost clarity.”

— Münchner Merkur

“The soprano, Chen Reiss, was excellent, with a solid and secure timbre, very beautiful and appropriate for this type of repertoire, not too voluminous, but thus providing an extra sweetness that is sometimes lacking in these lieder in which the density of the orchestration can be an issue.”

— Scherzo.es

“The final movement, ‘Sehr behaglich,’ brought the symphony to a close with the introduction of the soprano soloist, Chen Reiss. Singing the text of the Wunderhorn song ‘Das himmlische Leben,’ Reiss’s voice was pure and radiant, perfectly capturing the childlike innocence and joy of Mahler’s vision of heaven. Her performance was a revelation, blending seamlessly with the delicate orchestration to create a moment of transcendent beauty that left the audience spellbound. Noseda’s conducting in this movement was marked by a gentle restraint, allowing Reiss’s voice to take center stage while the orchestra provided a subtle and supportive accompaniment.”

— Georgia Today

“Chen Reiss brought us all the accuracy and purity of her singing. Very flexible and lyrical throughout the range, she showcases her colours at the highest end of the vocal spectrum, always with excellent command of the text, impeccably pronounced, traced perfectly towards the final phrases of the song.”

— Resmusica

“The impressive cast showed a variety of vocal colors and approaches. The Israeli soprano Chen Reiss was a somewhat curious choice for the title role, as her baroque credentials are perhaps less established than those of Véronique Gens in the role of Giunone or Christophe Dumaux in the role of Endimione. Often such unexpected casting decisions turn out to be felicitous. Who can forget the moving Calisto of Ileana Cotrubas—better known for her Violetta—in the aforementioned 1970 Glyndebourne production? Such was the case regarding Reiss. Despite her consistent use of vibrato, her voice came across as more delicate than expected, and in the end, her subtle dynamic control brought out the multiple facets of the character.”

— Operawire

“These proved an ideal display vehicle for Reiss' honey-toned voice, mixing warm lyricism with fiery temperament. She treated both as pieces of stage entertainment, the eyes flashing, the head tossed back defiantly, the hands sometimes outstretched in gentle supplication, the knowing smile of a you-can’t-fool-me minx which drew the listener in. The lower tessitura of the shorter aria, Chi sà, chi sà qual sia, suited her voice perfectly, and she was not found wanting either in the coloratura elements of Voi avete un cor fedele where her “Ah, non credo” was delivered as a stinging rebuke to the lover who proclaims his supposedly faithful intentions.”

— Bachtrack

“Her voice, velvety and rich in nuances, responded perfectly to the demands of the score [Strauss’ Four Last Songs]; Chen exhibited the qualities that have earned her fame and recognition as a Straussian singer: impeccable phrasing and clarity of diction, subtlety, and a wide vocal range that allowed her to be just as comfortable in the luminous opening ‘Frühling’ as in the nostalgic ‘Im Abendrot’ ending.”

— Pablo Sanchez Quinteiro, Bachtrack

“Ginevra is transformed from a carefree, eager bride in Act I to a woman driven to madness and hallucinatory dreams in Act II, experiencing rejection by her father in Act III before Polinesso’s deception is revealed and all is forgiven. One of Handel’s most changeable heroines, she was superbly sung and played by the glamorous Israeli soprano Chen Reiss, in a notable ROH [role] debut. She plumbed great depths of emotional turmoil in her Act II aria, which dissolves into a nightmarish conflict of good and bad dreams […] a compelling Handelian …”

— The Sunday Times

“As Ariodante's beloved Ginevra, the Israeli soprano Chen Reiss sang with a diamond precision and clarity.”

— The Telegraph

“This was a cast that rose to the virtuosic demands, then added bold embellishments of their own […] Chen Reiss’s Ginevra was world-class: stoic and poised, rather than devastated, as her world falls apart, but singing with wonderful lustre.”

— The Times

“As the put-upon Ginevra, Chen Reiss does wonderful things with her grieving aria at the close of act two, and her silvery voice blends exquisitely with Murrihy’s in their duets.”

— The Guardian

“... the performance of the evening, if there had to be just one, came from Chen Reiss as Ginevra, the princess whose betrothal to Ariodante comes close to doom. The Israeli soprano all but stole the 2018 revival of Don Giovanni at the ROH (as Zerlina) but here, if anything, she was even finer. Reiss’ aria of acquiescence to her father, “Io ti bacio”, was plangent and desperate – a heartstopping highlight.”

— Bachtrack

“There was high-class singing of sculpted beauty from Chen Reiss as Ginevra”

— Financial Times

“When Chen Reiss’s Ginevra announced, at the opening of Act 1, that her heart was on fire with love, we could really believe it. Her soprano shone with vivaciousness and her pin-point precision impressed. Her passion turned to ferocity when she spurned Polinesso’s advances, bristling with aristocratic indignation, then melted in the duets in which Chen and Murrihy blended. Reiss conveyed blissful rapture and inner despair with equal control. ‘Mi palpita il core’ rippled with anxiety; ‘Il mio crudel martora’ genuinely palpitated with distress.”

— Opera Today

“The roles of Ariodante and his beloved, then wronged, Ginevra, are taken by two singers who command the stage. Chen Reiss takes the palm with Ginevra’s “Il mio crudel martoro” (“My cruel torment”) at the end of this superb second act, meaning poured into each “Morte, dove sei tu?” (“Death, where are you?”). Hers is also the most developed characterisation, a petted princess momentarily caught off mental balance with a false accusation of infidelity and the (also false) news that her beloved has killed himself, but rising to tragic regal dignity at the end of that crucial aria and keeping her poise for the rest of the drama.”

— The Artsdesk

“Chen Reiss initially sparkled (almost as much as her Act I lime green evening gown) in her house debut as Ginevra, with her luminous and agile soprano voice. Reiss displayed laser-like coloratura for her rapturous ‘Volata, amori’. Her Act II aria ‘Il mio crudel martoro’ – which pre-empts many similar later operatic ‘mad scenes’ – was deeply sad and beautifully controlled.”

— Seen and Heard International

“Chen Reiss was a poised, aristocratic Ginevra, as well she should be. She charted Ginevra's journey well, from the charm and joy of Act One, the puzzlement of Act Two leading to a terrific mad scene - Reiss does intense, nervous, distraction very well. And after all that neurotic intensity, the final joy was tinged with sadness.”

— Planet Hugill

“As Ariodante's adored Ginevra, Israeli soprano Chen Reiss, making a stupendous house [role] debut”

— Culture Whisper

“Chen Reiss, in the role of Zaide, colors all the shades of her character’s hesitation, first choosing her lover, then withdrawing, and finally seducing him to flee to freedom.”

— Le Salon Musical

“Chen Reiss imbued the role of Zaide with both tenderness and strength… building up to the second act aria which [she] sang with precise and composed gentleness.”

— Bachtrack

“The musical execution of this Roman recovery was very fine. It would be difficult to choose between Chen Reiss (Zaide), Juan Francisco Gatell (Gomatz) or Markus Werba (Allazim), since they were all perfect in their roles.”

— Opera Actual

“Chen Reiss was both defiant and touching in Clärchen’s two songs, in particularly the Mahlerian militarism of ‘Die Trommel gerühret’, expressing the unconditional love of Egmont’s ewige Weibliche figure”

— Classical Source

“Chen Reiss sang prettily, first dashing and then lovelorn as the girl who has won the Dutch nobleman’s heart, hinting at the trouser-role defiance and passion that would achieve full expression in Beethoven’s only completed opera”

— The Artsdesk

“Soprano Chen Reiss fitted in with her two songs perfectly (first and fourth movement) as well as with her visible team spirit.”

— Seen and heard International

“Similarmente sobresaliente fue, en la música incidental de Egmont, el seguro y penetrante lirismo de Chen Reiss, una soprano de cuya carrera se habla en Londres cada vez más. Su apoyo y densidad de timbre son sólidos sin ser nunca pesados y su proyección al agudo de tranquila y pasmosa seguridad.”

“Also outstanding, in Egmont's incidental music, was the secure and pervasive lyricism of Chen Reiss, a soprano whose career is being spoken of in London more and more. Her technical support and density of timbre are solid without ever being heavy and the voice ascends to high notes of calm and astonishing security.”

— El Mundo Classico

“The role of Ginevra is arguably the most demanding in the opera, especially as the range of emotions and corresponding vocal line is so extreme. The vain frippery in “Vezze, lusinghe” and disdainful “Orrida a gl’occhi miei” established at the outset that this is a princess who feels no oblige to her noblesse. The psychological collapse after Lurcanio’s false accusation of sexual impropriety gave “Il mio crudel martoro” an abject pathos. Ginevra’s eventual euphoric rehabilitation requires refulgent articulation in “Bramo aver mille vite” and Israeli soprano Chen Reiss more than satisfied all these dramatic and vocal demands. The rapid semi-quaver roulades and top B flats in “Volate, amori” were exact and effortless. The unusual “Che vidi?” accompanied recitative ending to Act two had Handel’s desired dramatic impact. Consistently limpid intonation, clean trilling and intelligent word colouring made Reiss’ performance one to savour.”

— Opera Wire

“… the performance of Israeli soprano Chen Reiss, whose interpretation of Bernstein's Chichester Psalms, conducted by John Axelrod, rates as the best I have ever heard. […] Chen Reiss's voice exactly met Bernstein's demands - she sounded innocent, heavenly, pure, and very youthful. Chen Reiss acted as if praying while singing, and phrased beautifully with her beautiful voice. […] The orchestra exquisitely prepared the way for Chen Reiss, who finished the evening in the fourth movement (of Mahler’s Fourth symphony) with a magnificent solo in the ‘Knaben Wunderhorn’ lyrics, with the eyes of a young boy developing an innocent notion of dwelling in the sky. When I listened to her leading from the beautifully framed solo of the clarinet, it was a pleasure to hear this Israeli singer to on a stage with such great players.”

— Harmonie Line

“Making her debut as zerlina is Israeli soprano Chen Reiss who has all the necessary charm and sings delightfully”

— Daily Mail

“Chen Reiss, making her Royal Opera debut at this performance, made Zerlina a character of both charm and guile, matched by a voice of silver brightness and clarity.”

— Bachtrack.com

“Notwithstanding the firepower of these divos and divas, the abiding delight of this Don Giovanni – which, incidentally, has been expertly revived by Amy Lane – is a quieter double-act: the Masetto and Zerlina of Anatoli Sivko and Chen Reiss. Not only do their timbres blend sweetly, they chime more gratefully with conductor Marc Minkowski's historically informed reading than the bigger-boned voices elsewhere.”

— whatsonstage.com

“Chen Reiss was a poised and very self-possessed Zerlina, much less girly than some and one who knew what she was doing, so you could see her calculation in the way she played off the two men in her life, Kwiecien's suave Don Giovanni and Anatoli Sivko's rather intense, boorish Masetto. Reiss's lyric voice is quite full in the middle range, yet still light and free, so we got a richer sound in the arias whilst retaining the character's essential lyric, buffo nature. A fine stage debut which will undoubtedly develop, and I hope we see her returning as Susanna in Le nozze di Figaro.”

— planethugill.com

“however, it is the trio of women who really steal the show with Rachel Willis-Sørensen’s Donna Anna revealing an intense, focused and beautifully intriguing soprano, Hrachuhi Bassenz’s Donna Elvira combining sumptuousness with focus and anguish, and Chen Reiss’s soprano being so well shaped that she offers far more than simply a sweet voice as Zerlina.”

— Opera-online.com

“Here it was the Israeli soprano Chen Reiss, making her house debut in this role (she is a regular with the Vienna State Opera). Here is a Zerlina that is no innocent, stripping for the Don and realizing the power she has over the male libido. The duet ‘La ci darem’ was all the more delicious for Reiss’ slight depth to her voice: this is no soubrette Zerlina.”

— seenandheard-international.com

“Chen Reiss is a positively regal peasant bride Zerlina: the Vienna State Opera with which she often works has left its elegant mark.”

— Culturewhisper.com

“and there is decent support from Chen Reiss’s bright-voiced Zerlina, Anatoli Sivko’s Masetto, and Willard W. White, marking 40 years with the Royal Opera as the Commendatore.”

— Financial Times

“The sequence of six Richard Strauss songs was drawn from right across his career. Quite frankly Chen Reiss has one of the most perfect Strauss voices one could wish for – think Lisa della Casa – conveying that radiant, soaring ecstasy so characteristic of the composer’s love-affair with the female voice. ‘Morgen!’, topped and tailed by superb violin solos, was especially memorable.”

“When we reached the concluding child’s vision of Heaven Chen Reiss – now in the simplest gown rather than the sumptuous one she had worn for the Strauss – rose from within the orchestra, a particularly elegant solution to introduce the singer without disrupting the music’s flow. Reiss’s voice may be almost too beautiful and sophisticated for this faux-naif music but far better that than some less-impressive vocalists one has heard.”

— classicalsource.com

“Add a perfectly timed soprano arrival – here Chen Reiss in a powder blue gown – that causes the timpanist to thump out his motif without once peeling his eyes from her, followed by an angelic rendition of the song and you’re already one step towards paradise.”

“In truth, Reiss had already captivated much earlier in this Philharmonia programme conducted by fellow Israeli Lahav Shani. So often, the soprano soloist in Mahler 4 is given nothing to do in the first half of the concert other than twiddle her thumbs in the green room whilst a concerto is tackled. Here, Reiss sang a sextet of Lieder by Richard Strauss, a beautiful selection taking us from tender lullabies to a jilted lover to a poet binding his girl with a garland of roses. With limpid tone and effortlessly floated top notes, Reiss enchanted. Hers is not a creamy Straussian soprano, but one of crystalline purity. I’d wager she makes for a beguiling Sophie in Der Rosenkavalier.”

“Wiegenlied was suitably dreamy while golden phrases melted in Das Rosenband. Finest of all was the most familiar number, Morgen!, composed by Strauss for Pauline de Ahna nine days after their engagement; after Zsolt-Tihamér Visontay’s luscious violin solo, Reiss led us to a moment of quiet ecstasy. Shani shaped the orchestral accompaniments – never too heavily scored – sensitively, the rocking violin murmurations of Wiegenlied especially delectable.”

— Bachtrack

“And the way the last movement’s soprano soloist, Chen Reiss, appeared as if from nowhere, high at the rear, statuesque and golden, to convey the child’s view of heaven was the best solution to the finale’s logistical problem I’ve come across. The answer is, clearly, do it by sheer magic. And she sang the part beautifully, with purest tuning and, as Mahler required, without parody.”

— The Sunday Times

“In a theatrical gesture at the climax an angelic and dignified Chen Reiss appeared behind and above the orchestra, and in the ‘Wunderhorn’ Finale her radiant soprano transported us to the heavenly vision so central to this Symphony. Gatti’s tempos may have veered towards the extreme, but for sheer joyfulness and serenity this was unbeatable: Paradise gained!”

— classicalsource.com

“And in the fourth movement, Chen Reiss’s celestial soprano abetted a reading that honoured the music’s sense of innocence.”

— Financial Times

“Then, behind and above the band, Chen Reiss sang of the child’s heaven with a sweet strength that never cloyed. Mahler and mischief are never too far apart, and she rightly went for sassiness, not schmaltz. For some sopranos, the obligation to sing from behind the Concertgebouw might imply a season in hell rather than paradise. Not here: ethereal but still grounded, Reiss wafted us up into the clouds with an angelic – but never sentimental – touch.”

— The Artsdesk

“and Chen Reiss was a striking soprano soloist in the finale – in a role Mahler insisted should have no suggestion of parody – even if her approach was more knowing than childlike.”

— The Guardian

“As Gretel, Chen Reiss’ soprano has a gloriously affecting clarity. Reiss fits ‘the high, clear, bright, girlish lyric soprano par excellence’ called for – the very qualities Reiss drew on playing Janacek’s Cunning Little Vixen (in 2015).”

— Vienna Opera Review

“With her bright, meltingly beautiful sound, Israeli soprano Chen Reiss delivered the "Pie Jesu" as the simple, childlike prayer it was meant to be.”

— Chicago Tribune

“After hearing Chen Reiss in the "Requiem", delivering tones so pure and clear they alone constituted a spiritual experience, it is easy to understand why she was summoned to the Vatican 2 years ago to sing during the Christmas Mass.”

— www.lasplash.com

“The famous “Pie Jesu” was the platform for Israeli soprano Chen Reiss to make her CSO debut. While there was an ineffable fragility, her full-bodied tone suggested more than mere childlike simplicity.”

— www.bachtrack.com

“Soprano Chen Reiss sang the fifth movement with an appealing blend of purity and feeling.”

— Pittsburgh Tribune-Review

“Ms. Reiss was wonderful, singing with crystalline beauty.”

— Pittsburgh Post Gazette

“Chen Reiss was a heavenly Gilda, pure of voice and solid in her crystalline upper register, confident in her luxuriant phrasing, and showing an impressive trill at the end of "Caro nome.”

— Opera News

“Chen Reiss was as closed to a perfect Gilda as we can expect today. Believable as a girl in her teens, she showed a lovely, light, crystalline soprano, secure technique, strength and endurance, capping a sensuously-sung "Caro nome" with an extended, flawless trill.”

— Musical America Worldwide

“She exhibits her vocal control down to the finest detail and yet there is an ease about her singing, rich in colour, lithe, vital and coupled with an impressive stage presence.”

— Opernglas

“Only the interesting Chen Reiss (Gilda) had the Personality profile for a Festwochen premier.”

— Österreich

“Chen Reiss demonstrates remarkable coloratura skills.”

— Der Standard

“Chen Reiss grants the innocent Gilda adequate clear Tones.”

— Wiener Zeitung

“The dark-haired, distinctively beautiful young singer never offers the flittery, breathy soprano, which one often hears as Sophie; she presents a substantial, radiant, bright voice with the necessary heavenly high notes in Piano and in Forte. Linguistically perfect, she plays Sophie as confused, yet sympathetic, lively and with a strong personality.”

— Der neue Merker

“…the inspiring singing of the Soprano, who sang her aria "Ihr habt nun Traurigkeit" with a comforting, chastely sweet voice. Barenboim laid a delicate orchestra carpet under her words - one of the strongest moments of the concert.”

— Orpheus

“The silverly illuminating, high soprano of Chen Reiss, who with her solo “Ihr habt nun Traurigkeit” effectively distributed all sadness.”

— Berliner Morgenpost

“Chen Reiss with her bell-like, crystal voice radiated much sadness. The Maestro preserved her tones like precious fruits”

— Der Tagesspiegel

“…Soprano Chen Reiss was angelic in purity yet tenderly human.”

— Pittsburgh Tribune- Review

“…The soloists were led by soprano Chen Reiss' bell-like intoning.”

— Pittsburgh Post- Gazette

“The soprano soloist was Chen Reiss. She is young and strikingly attractive, with a light voice that projects well, a warm sound, a fluid legato and effortless top notes. At times, she sounds quite a bit like the immortal Arleen Augér.”

— The Atlanta Journal-Constitution

“Soprano Chen Reiss convincingly captured the quality of her soubrette role. Her combination of irresistible vocal and personal charm made her the perfect personification of the mischievous Zerlina.”

— Jerusalem Post, Israel

“The portrayal of Zerlina by Chen Reiss was amazing in every sense. The interpretive depth that Reiss reaches as Zerlina in this performance surpasses numerous famous performances of this role. Reiss proved that Mozart managed to accomplish his desire and wish, known from his famous letter to his father – to write an opera with three female roles that differ from each other in terms of the amount of comedy and tragedy they portray, yet are similar in their artistic value. In other words – his wish to write comic music that is no less deep than his tragic music.”

— Haaretz , Israel

“The Israeli Chen Reiss as Zerlina was enchanting as usual, with a clear voice and a charming stage presence.”

— Globes, Israel

“Chen Reiss as the peasant girl Zerlina- shining with her bell-like voice, appropriately coquettish, resourceful and knows how to navigate the men around her.”

— Haaretz , Israel

“Schleswig - sopranos with flawless height, steady depth and sophisticated technique are rather rare. American soprano Chen Reiss however, presenting the concert at the cathedral in Schleswig turned out to be a dazzling and charming representative of this rare species! With concert arias from Salzburg born genius Mozart the popular singer knew how to magically impress her audience. Soft “Legati”, Coloraturas as clear as bells, easy modulations, solid fundament and dazzling heights: Mozart would have rejoiced in this jubilant golden voice! ...A most sensitive Mozart-sound, which was paralleled in the spotless singing of the well deservedly triumphant Chen Reiss.”

— Schleswig Holsteiner Zeitung , Germany

“Chen Reiss was a stunning Gilda, her immaculately produced voice and enticing tone matched by her superb musicianship; she was able to reach out emotionally to the audience.”

— Opera News Online, USA

“A Gilda from the dictionary: refreshingly young, graceful and presented with an angelic, pure, spirited lyric voice... Her movingly intense and dreamingly beautifully sung Gilda shone out of the mediocrity of the production like a star. Let this be the first of many opera evenings to follow with Chen Reiss.”

— Abendzeitung, Germany

“Chen Reiss emerged persuasively as Alcina's sister Morgana for her Act I "Tornami a vagheggiar", in which she repeatedly urges (in vain) the disguised Bradamante to return.”

— Bachtrack

“Opera Company of Philadelphia - Rigoletto (Gilda) The young Israeli singer Chen Reiss, who portrayed Gilda in the Opera Copmany of Philadelphia's Rigoletto, was the production's greatestasset. Her flexible, crystalline voice reached the furthest corners of the hall, and her intonation was flawless. Nothing in the role seemed to tax the soprano.”

— Opera Now, UK

“Reiss' limpid light soprano never loses its focus or lustrous tone quality. Singing with an instrumental purity, she earned an ovation for her exquisite account of Gilda's first-act aria.”

— Courier-Post, Philadelphia, USA

“However, the evening’s real delight emanated from Reiss’ flawless, brilliantly controlled, beautifully sung performance. Beyond her exquisite coloratura, she made comprehensible to me (for the first time out of the half-dozen or so productions of this opera I’ve seen) the motivations why her character would sacrifice herself to such a lecher as the Duke.”

— Edge Philadelphia, USA

“Israel Philharmonic - Entführung aus dem Serail (Blonde) Chen Reiss is fantastic with her brilliant voice and stylish singing.”

— Yediot Hacharonot, Israel

“Chen Reiss as Blonde was an absolute pleasure to the ears as well as the eyes.”

— Haaretz , Israel

“Bayerische Staatsoper- Die Entführung aus dem Serail (Blonde) Chen Reiss, whose immaculate coloratura soprano represents a significant addition to the roster of the Staatsoper, Yediot Hacharonot, Israelwas able to lend radiant good cheer to the performance.”

— Abendzeitung, Germany

“Reiss’ brilliant performance for Cantata No. 51 was simply astonishing. Bach’s florid writing was a romp for her. Reiss sang with such appealing tone that joyousness was more important than her brilliant technique-and that’s making music.”

— Pittsburgh Tribune-Review, USA

“Chen Reiss beguiled the audience with her crystal clear soprano reaching even the highest tones effortlessly.”

— Haaretz, Israel

“Chen Reiss, an internationally successful soprano, whose rapid development we have followed with each appearance at the Philharmonic, gave the piece its most exquisite moments.”

— Habama, Israel

“Chen Reiss was a major find, easily sending her pure, sweet voice above both chorus and orchestra.”

— Chicago Sun-Times, USA

“Chen Reiss stopped the show as Zerbinetta with a dazzling rendition of her coloratura showpiece. She diplayed full technical mastery in the demanding aria, and the audience responded with unusually prolonged applause. Her acting was light and graceful acting throughout the entire opera.”

— Opera News Online

“Lucerne Festival- Salieri: Prima la musica, poi le parole (Tonina) Chen Reiss as perhaps the best of the evening, with flawless voice leading, unforced power and natural expression.”

— Neuer Luzerner Zeitung, Switzerland

“Chen Reiss turns the role of Servilia through tender charm to a main role.”

— Abendzeitung, Germany

“The beautiful Chen Reiss presented a very moving Servilia.”

— Münchner Merkur, Germany

“The fresh voice and fluent acting of Chen Reiss as the love struck Nannetta, were delightful.”

— Der Neue Merker

“Reiss sang with tonal purity and generosity of expression. She is also a terrific comedian who dominated every scene with her deadpan expressions and brilliant comic timing. Part Lily Pons and part Sarah Jessica Parker, Reiss exudes that elusive star quality.”

— Miami Herald, USA

“Chen Reiss proved note-perfect, making an exceptional local debut. With a light, flexible voice, pure tone and effortless production throughout her range, the Israeli soprano threw off the stratospheric coloratura and gleaming top notes in Chacun le sait with ease. The charismatic singer also provided a spunky and engaging presence, alive to the comedy as well as the bittersweet moments. Her farewell to her soldier friends, Il faut partir, was rendered with heart-aching expressive poise and refined depth of feeling. Reiss is a hugely talented artist, and we should have her back very soon.”

— Sun- Sentinel, USA