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Mozart's Requiem, The Boston Cecilia and Lowell Chamber Orchestra, 2024


"Among the soloists, soprano Aurora Martin and alto Christina English established a quick rapport with one another and the larger group. Their duets in the “Benedictus” were lucid and the singers’ respective individual moments in the “Tuba mirum” and “Recordare” emerged fervently." - Boston Classical Review




James Kallembach's Antigone, New Focus Recordings, 2021:

"Kallembach deploys his forces with variety. A short movement for Ismene is sung by a mezzo (Christina English, rich and mellifluous) with solo cello accompaniment." - Opera News

"Mezzo-soprano Christina English takes the first soloist's turn as Ismene, her emotive delivery accompanied by a single cello as she expresses the woman's anguished decision to leave her brother's body alone in order to save her own life." - Textura


Fabricating Femininity, song recital with Christina Wright-Ivanova, piano, 2021:

"Mercurial, vibrant and beautifully crafted, these three [Chansons de Bilitis] are quintessential Debussy. Wright-Ivanova’s delicate, yet fluid touch and English’s mellow sound conveyed the Impressionist mood...

"With outstanding teamwork English and Wright-Ivanova met the demands of phrasing, dynamics and tempo equally well across a variety of styles. Wright-Ivanova sounded warm and reassuring—English, round and mellow." - Boston Musical Intelligencer


Pilot, Rachel Portman's The Little Prince, NEMPAC Opera Project, 2019:

"Christina English grounded the whole work as the Pilot, whose straightlaced wonder at the Prince’s simplicity acted as that bridge between the childlike and the mature which helps to make sense of the Prince’s fantastical world. She did so with a warm, colorful voice, and acting that played off of the Prince’s actions well." - Schmopera

"Mezzo-soprano Christina English essayed the Pilot, the single major role, generally taken by a baritone...When she had the chance to soar, her lines arched gracefully skyward." - Boston Musical Intelligencer



Housekeeper, Man of La Mancha, New Repertory Theater, 2017


"...the ensemble is filled with strong vocalists who fulfill the promise of the music. Standouts include Stefan Barner (Father Pérez), Christina English (housekeeper), and Davron S. Monroe (Simón Carrasco)." - Broadway World

"Antonia (Ivy Ryan), Luisa (Christina English), Carrasco (Davron S. Monroe) and Father Perez (Stefan Barner) perform a quirky and catchy 'I’m Only Thinking of Him'." - The Theater Mirror


Diana Deveraux, Gershwin's Of Thee I Sing, Chorus Pro Musica, 2017:

"Christina English’s Devereaux was a fully-lived caricature, seductive, warmly-sung, and quite funny (especially as she shifted between Southern and French accents in each act)." - The Arts Fuse

"As Diana Devereaux, mezzo-soprano Christina English brought a sultry presence and gentle bluesy quality to her brief solo spotlights." - Boston Classical Review


Miss Prism, Castelnuovo-Tedesco's The Importance of Being Earnest, Odyssey Opera, 2017:

"James Demler and Christina English make a sweet couple as the upstanding Canon Chasuble and the spinsterish Miss Prism" - The Boston Globe

"Christina English made Miss Prism the devoted spinster domestic..." - Boston Musical Intelligencer


Háta, Smetana's The Bartered Bride, Boston Midsummer Opera, 2014:


"The singing is strong…David Lara and Christina English are intriguing as Vasek’s well-dressed parents, Mícha and Háta, particularly when she starts pawing her husband; it’s too bad they come on so late." - The Boston Globe


"The entire cast sang with gusto and appeal, having been cast with an appropriate flair…[David Lara] and [Christina English] came late in the production and offered a good interpretation of the material they were given; they sing very few lines…but well, I might add." - Boston Musical Intelligencer



Florinda, Sondheim's Into the Woods, Lyric Stage Company of Boston, 2014:


"With great flair and purposeful awkward sauciness, Cinderella’s wicked Stepmother (Maureen Keiller) and her mean stepsisters (Christina English and Elise Arsenault) seemed to be having the most fun during the show." - Berkshire Fine Arts


"Maureen Keiller as Cinderella's stepmother, Christina English as Florinda and Elise Arsenault as Lucinda are the perfect Trifecta of domestic terror.  Their facial expressions are priceless as they go through life trying to one-up Cinderella." - White Rhino Report


"Keiller shows right away that the Stepmother is deliciously wicked and her daughters are vapid and vain as characterized by English and Arsenault. They all ooze contempt for Cinderella…" - Talkin' Broadway



Inez, Andy Vores' No Exit, Guerilla Opera, 2013:


No Exit is "a gripping evening of music and theater...Written in Paris during the Nazi occupation, Sartre’s play is a dour thing, sort of a philosophy lecture in drag. It takes resourceful actors to give it life on the stage, and the singing actors of Thursday’s performance brought a lot to the table...For the ungrateful (and stereotypical) role of the predatory lesbian Inez, Christina English brought an agile mezzo-soprano voice that was solid in all registers, and also the courage to play the hatchet-faced harpy for much of the evening, giving the audience only brief (but affecting) glimpses of her character’s vulnerabilities." - Boston Classical Review


"There hiding the trio’s talents as singers and actors...Christina English is a scornful, smirking, ultimately hungry Inez as she stalks Estelle while despising Garcin...nothing can stop Budris, English, and de la Guardia from intimating that hell might be a place of our own making." - The Boston Globe


"The opera casts its spell slowly, but once it reaches its stride there is much to admire...English’s focused, occasionally severe tone confronts de la Guardia’s warm but powerful is the exquisite communication and coordination of the performers that makes No Exit linger. There is no conductor, and the vocalists are often unable to see the ensemble, and yet the singers and the instrumentalists play together...there is an incredible sense of intimacy, which is only intensified by the smallness of the space." - Boston Musical Intelligencer


"...the performers were praiseworthy...Christina English—very different as the suicidal Lesbian than as the heavenly Messenger of Peace in Rienzi the week before...Vores’s seductive and scary score is a wonder of musical invention...[No Exit is] one of our most compelling contemporary operas and deserves more—and more frequent—revivals." - Lloyd Schwartz, New York Arts



Messenger of Peace (soloist with Lorelei Ensemble) in Wagner's Rienzi, Odyssey Opera, 2013:


"...the Odyssey Orchestra brought the involved orchestral writing thrillingly to life, capturing its every nuance and electrifying impulse...Also striking was Christina English’s brief appearance as the Messenger of Peace...the superb Lorelei Ensemble made the most of their brief appearance in Act 2 with singing that married pristine intonation and tonal bloom with lithe articulation." - The Arts Fuse


"Pulling off a concert version of a five-hour opera would be a feat for even an established company, yet Odyssey Opera largely met those challenges, helped by some larger-than-life singing and a firecracker orchestra...Ethan Bremner, Christina English, Kristopher Irmiter, Frank Kelley, and Robert Honeysucker rounded out the ensemble with strong singing all around..." - Boston Classical Review


"The angelic women's chorus of Act II was one of the more riveting choral moments...It is really a shame that such a well-rehearsed and exquisitely executed show had only one day in the sun." -


"Most exciting however, was the quality of Harris Ipock’s chorus, supported by the divine Lorelei Ensemble, and the nuanced performance by the Odyssey Opera Orchestra under Rose’s baton. In opera, the singers create the performance, but the ensembles create the institution...Odyssey Opera has shown that it can amass the talent and passion to pull off its own international-level 'Rienzi.' With Odyssey Opera, it seems that in Boston we can now expect more." - The Boston Musical Intelligencer


"Collectively, the Odyssey forces delivered a memorable Boston premiere, and also, as judged by the cheering crowd at the night’s end, generated a healthy quotient of good will as the project embarks on its first year... Odyssey is off to an auspicious start." - The Boston Globe



Public Opinion, Offenbach's Orpheus in the Underworld, Boston Opera Collaborative, 2012:


“English, with her schoolmarm glasses, is a prim and proper Public Opinion who, in the end, lets down her hair to boogie with Connell’s hipster Pluto.” - The Boston Globe



Ruggiero, Handel's Alcina, Janiec Opera Company, 2011:


"Christina English as Ruggiero seemed to warm to her role, singing most beautifully the pastoral sarabande 'Verdi prati.'" - Classical Voice North Carolina



Meg, Adamo's Little Women, Boston Opera Collaborative, 2010:


Christina English’s Meg sang a beautiful “Things Change” that I was very excited to hear. I was disappointed that she didn’t have any other moments to stand out.” – Boston Theatre Review



Dorabella, Mozart's Così fan tutte, Riverside Theatreworks, 2010:


English impressed me with her controlled coloratura…as a side note, [she] had great chemistry with baritone McEvoy in the duet Il core vi dono.” - Boston Lowbrow



Marcellina, Mozart's Le nozze di Figaro, Janiec Opera Company, 2010:


"Things loosened up considerably with the arrival of the scheming pair Doctor Bartolo (Geoffry Penar) and Marcellina (Christina English)." - Classical Voice North Carolina



Mercédès, Bizet's Carmen, Boston Opera Collaborative, 2009:


“Katrina Holden (Frasquita) and Christina English (Mercédès) were excellent throughout as Carmen’s sinuous sidekicks.” - The Boston Musical Intelligencer

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