Princess Ida:

"Lynne Vardaman sang the title role with a combination of forcefulness and beauty."

Allan Kozinn, The New York Times

 

"With her strong, shining soprano and keen sense of the ridiculous, Lynne Vardaman is exceptional in the title role"

 

 

Peter G. Davis, New York Magazine

 

"Soprano Lynne Vardaman filled the part’s special requirements superbly: she looks like Stockard Channing, acts like Angela Lansbury and sings the music with richness and even grandeur."

Bill Zakariasen, The Westsider

Pierrot Lunaire:

"which Ms. Vardaman delivered in powerfully communicative...relentless fashion... harrowing interpretation."

Alex Ross, The New York Times

"superb presentation...Schoenberg would have been most content with a performance like this, particularly with Vardaman’s extraordinary intimacy and ease that moved between speech and song as if it were duck soup. Rhythmically, she got the snappy stuff right and the languorous, dreamy, sometimes cruel stuff as well, moving with graceful assurance between speech and singing as if it were a language she had just invented."

Ron Emery, Albany Times Union

North/South Consonance tribute to Otto Luening:

"Lynne Vardaman, a soprano with a powerful, appealing sound, gave dramatic accounts of Jack Beeson’s...’From a Watchtower’ and Robert Starer’s affectingly direct ‘Songs of Youth and Age.’"

Allan Kozinn, The New York Times

Miss Donnithorne’s Maggot by Peter Maxwell Davies:

"Lynne Vardaman, a resourceful, poignant, and entertaining actress, showed a rare ability both to span the extravagant vocal range and to make the words not merely intelligible but telling."

Andrew Porter, The New Yorker

Of Bondage and Freedom by Max Lifchitz

"The performance…was excellent…superior and projected with sensitivity…Lynne Vardaman deserves special notice: hers is a well developed voice with immediate power. She sang, laughed, cried and yelled announcing with conviction the different moods a woman in captivity might experience. Wide mood swings covering a wide spectrum from anger to resignation were clearly projected.

José Wolffer, Reforma, Mexico City

"Soprano Lynne Vardaman is required to sing in Yiddish, Polish and English with great dramatic intensity. One movement calls for a Wozzeck-like sprechstimme. She is well up to the task.

The Music Connoisseur, Recording Review

"…an effective Holocaust piece…with a great gift for dramatic gesture…delivers a real emotional impact…"

Fanfare Magazine, Recording Review

H.M.S. Pinafore:

"expert, stellar performance...Lynne Vardaman exploited daughter Josephine’s wit and resourcefulness."

Dennis Cashman, New Haven Register