Acclaim
MAID IN “POWDER HER FACE”
New York City Opera
“an agile magnetic coloratura soprano as the Maid” New York Times
“giggled the coloratura flights” New York Post
“provided spunk and spark” Wall Street Journal
“a kewpie-doll dynamo on stage… bright and pungent with seemingly boundless energy and panache” Classical Review
“Nili Riemer performed with vitality and richness of sound, as well as impressive physical shenanigans as the Duchess’s Maid.” Classicalsource
“giggled the coloratura flights” New York Post
“provided spunk and spark” Wall Street Journal
“a kewpie-doll dynamo on stage… bright and pungent with seemingly boundless energy and panache” Classical Review
“Nili Riemer performed with vitality and richness of sound, as well as impressive physical shenanigans as the Duchess’s Maid.” Classicalsource
ZERBINETTA IN “ARIADNE AUF NAXOS”
Theater Freiburg
“…könnte man den ganzen Abend zuhören! Das gilt auch für den bezaubernden Koloratursopran von Nili Riemer: Sie erreicht in ihrer grossen Szene Allmächtige Prinzessin – Als ein Gott kam er gegangen nicht nur mühelos die allerhöchsten Töne, nein, sie verschafft uns in dieser ausgedehnten Koloraturarie auch einen tiefen Einblick in die weibliche Psyche und eine Verbundenheit im Schicksal mit der trauernden Ariadne.” Oper-Aktuell
SEHR HOHE SOPRAN IN “DIE EROBERUNG VON MEXICO”
SAARLAENDISCHEN STAATSTHEATER
“Zwei Extreme ergänzen Montezumas Persönlichkeit: Der sehr hohe Sopran, fabelhaft besetzt mit Nili Riemer, die mit ihrer außergewöhnlichen Stimme mühelos und glänzend die astronomischen Höhen ihrer Partie meisterte.” Klassik Magazin
“Konzentrierte Sänger – allen voran Nili Riemer, die mit ihrem glockenhellen, glasschneidenden und trotzdem warmen Sopran wahre Klangschrauben in die Lüfte malt, die dann wie Seifenblasen zerplatzen.” Saarlaendischer Rundfunk
“Hier kann sich Nili Riemer mit ihren kristallklaren Vokalisen sehr vorteilhaft in Szene setzen” Der Opernfreund Magazin
“Konzentrierte Sänger – allen voran Nili Riemer, die mit ihrem glockenhellen, glasschneidenden und trotzdem warmen Sopran wahre Klangschrauben in die Lüfte malt, die dann wie Seifenblasen zerplatzen.” Saarlaendischer Rundfunk
“Hier kann sich Nili Riemer mit ihren kristallklaren Vokalisen sehr vorteilhaft in Szene setzen” Der Opernfreund Magazin
CONTROLLER IN “FLIGHT”
AUSTIN LYRIC OPERA
“Nili Riemer elicited gasps of admiration from the audience Saturday when she effortlessly leapt to a high F in her first solo.” Austin360“Nili Riemer in the role of the Controller: Her high notes rang like a bell. Very powerful and impressive singing by these two made this an opera you wouldn’t want to miss.” Austin Post
“The show offered an array of great performances, but I have to hold Nili Riemer, who played the Controller, above all others. Her voice was as potent as anything I have recently witnessed and managed to fill the Long Center from start to finish.” Austin Post
“Nili Riemer was wonderful in this role, producing soaring lines of melody perfectly in tune with her character.” La Scena Musicale
MARIE IN “LA FILLE DU REGIMENT”
LYRIC OPERA KANSAS CITY
“Her Marie was a petulant, bright-eyed, utterly charming tom-boy. Riemer was serious and plaintive, then innocent and childlike, all while exhibiting remarkable range, consistency, and control. Her dramatic instincts are superb, really. She carelessly flits and flirts, but balances that with brief glimpses of a mature, thoughtful young woman.”KCMetropolis
“At the center of the singing cast was Nili Riemer (Marie), whose quicksilver soprano negotiated this demanding role with ease…She was affecting in her lament at the end of Act 2, and her embellishments of Donizetti’s vocal line—inventive but responsible—included comfortable high F’s and G’s” KC Independent
“Riemer’s arresting soprano was gorgeous and blended well with Robertson’s tenor”
Kansas City Star
KOENIGIN DER NACHT IN “DIE ZAUBERFLOETE”
MINNESOTA ORCHESTRA
“Nili Riemer’s Queen of the Night launched into the vocal stratosphere breathtakingly”
Pioneer Press
“Nili Riemer gave real dramatic bite to the Queen of the Night’s coloratura”
Star Tribune
LUCIA IN “LUCIA DI LAMMERMOOR”
OPERA CLEVELAND
“Nili Riemer is believably vulnerable and distraught in the title role. A victim of circumstances, her Lucia seems capable of collapsing at any moment. Riemer sings with graceful agility, rising to shining high notes and using the coloratura writing as an extension of character…her Mad Scene, ultimately minus wedding gown and replete with suicidal touches, rivets attention. She goes blissfully bonkers with elegant help from flutist Sean Gabriel.” The Plain Dealer
“Her upper register was pure silver. Her mad scene duet with flutist Seth Gabriel was perfectly coordinated without shedding any of its lunacy.”Cleveland Classical
MABEL IN “PIRATES OF PENZANCE”
LYRIC OPERA OF KANSAS CITY
“Soprano Nili Riemer demonstrates stunning vocal pyrotechnics and a finely-tuned sense of comedy as the beautiful Mabel” The Kansas City Star
“Nili Riemer’s silver-bell coloratura was a delight on the ear, and it allowed her to add insider “quotes” from other famous coloratura arias in Mabel’s big “Poor wand’ring one” aria, which was deftly played and limpidly sung. (Mozart’s Queen of the Night was heard)…” The Independent
“Nili Riemer as Mabel was an inspired casting choice. Her entrance raised the vocal standard with a pure, light tone and remarkable range. “KCMetropolis
OSCAR IN “UN BALLO IN MASCHERA”
MINNESOTA OPERA
“Energy was also the hallmark of Nili Riemer’s nimble Oscar. She lit up Verdi’s breezy, French-flavored ensembles…and forcefully projected the work’s distinctively tragicomic character. Opera News
“The show-stealer is Nili Riemer, perfect as Oscar … her easy coloratura and sparkling stage presence make her ideal in this role.” The Post Bulletin
“It was Nili Riemer, in the trouser role of Oscar, who delivered the most satisfying performance. Her quicksilver soprano made easy work of the punishing tesitura and demanding coloratura. What’s more, she made the foolishly self-important youth a delight at each appearance.” MSPMag.com
“puckish playfulness and enthusiastic singing…she seemed a blast of pure oxygen”
The Pioneer Press
CUNEGONDE IN “CANDIDE”
STEFFISBURGER KAMMERCHOR
Cunegonde, die von der kurzfristig eingesprungenen Nili Riemer so hervorragend in Szene gesetzt wurde, das ihr die Herzen im publikum sofort zuflogen. Thuner Tagblatt
LAKME IN “LAKME”
MINNESOTA OPERA
“the floated pianissimos in her death scene were heart-stopping”
Opera News
OLYMPIA IN “LES CONTES D’HOFFMANN”
MINNESOTA OPERA
“Nili Riemer’s Olympia, hilariously sung and mimed in a getup fit for the Mad Hatter’s tea party, set the pace for the women.” Opera News
“Among the women Nili Riemer [makes] a funny and vocally agile Olympia” The Star Tribune
“Soprano Nili Riemer (Olympia) showed amazing high notes and comic style” Opera Canada
“La soprano Nili Riemer fue muy cómica en su interpretación de Olimpia” Opera en America
“At the center of the singing cast was Nili Riemer (Marie), whose quicksilver soprano negotiated this demanding role with ease…She was affecting in her lament at the end of Act 2, and her embellishments of Donizetti’s vocal line—inventive but responsible—included comfortable high F’s and G’s” KC Independent
“Riemer’s arresting soprano was gorgeous and blended well with Robertson’s tenor” Kansas City Star
“Her upper register was pure silver. Her mad scene duet with flutist Seth Gabriel was perfectly coordinated without shedding any of its lunacy.”Cleveland Classical
“The show-stealer is Nili Riemer, perfect as Oscar … her easy coloratura and sparkling stage presence make her ideal in this role.” The Post Bulletin
“It was Nili Riemer, in the trouser role of Oscar, who delivered the most satisfying performance. Her quicksilver soprano made easy work of the punishing tesitura and demanding coloratura. What’s more, she made the foolishly self-important youth a delight at each appearance.” MSPMag.com
“puckish playfulness and enthusiastic singing…she seemed a blast of pure oxygen” The Pioneer Press
