Elle in La Voix Humaine, National Sawdust
"sung with infectious pleasure by Laura Bohn" - NRC, 2021 (Hansel and Gretel)
"... the brilliant and physically intense soprano Laura Bohn..."
- San Francisco Chronicle, 2017 (Seven Deadly Sins)
"Delicious" - Het Parool, 2021 (Hansel and Gretel)
“In particular, Laura Bohn's powerfully sung Duchess exuded sadness and vulnerability under her steely elegance, managing - even in the opera's famous blow-job aria - to portray a wounded woman bewildered by fate. Bohn moved among the opera's many time periods skillfully, changing wigs and demeanor in full view of the audience, as the fallen woman attempts desperately to give a dignified interview to a beauty magazine and ends up groveling for one more day, not merely at the hotel, but for life itself.”
- Opera News, 2016 (Powder her Face)
"Laura Bohn’s Duchess was a figure at once imperious and vulnerable, bringing a frank directness to the role’s more challenging aspects (including the opera’s famous compositional tour-de-force, a musical depiction of an act of fellatio) and rising to full-throated tragedy in her final moments..”
-San Francisco Chronicle, 2016 (Powder her Face)
The Duchess of Argyll
“As the Duchess, Laura Bohn was the heart of the show. She got the most difficult and the most beautiful music, as well as the only character arc. Bohn’s Duchess moved from ambition and sexual abandon to nostalgia and desperation. Her lush soprano slithered through the space, always immediate and present. The “room service” and interview scenes were particular shows of vocal and dramatic prowess.” - Bachtrack.com, 2016 (Powder her Face)
"… a brilliant tour de force triumph for soprano Laura Bohn as the heroine, a role that demands the tragic classicism and intense, focused range of a Callas playing Medea …"
- Gramophone, 2015 (Certitude and Joy)
"The physicality of the role was perfectly suited to Laura Bohn. She acted and sang like a tigress and fought as if she knew karate. Her Norma was a strong woman who needed no compassion..."
-operamagazine.nl, 2017 (Norma-Before I Die)
"Depicting the ambitious strategist with dripping menace, Laura Bohn could let fly with some fine coloratura and carried her weight in the ensembles.
- Boston Musical Intelligencer, 2018 (On Behalf of a Madman - Mozart pastiche)
"It was phenomenally sung by . . . Laura Bohn (Ino) . . ."
- Theaterkrant.nl, 2015 (Semele)
"Laura Bohn stood out for her intense quality of singing and acting, warm and passionate.
Together their voices offered brilliant colors... "
- operamagazine.nl, 2015 (Semele)
“One cannot imagine a finer portrayal of the Woman than by soprano Laura Bohn, who sang with great beauty, clarity, and empathy…”
- American Record Guide, 2013 (Holodomor)
“On opening night, soprano Laura Bohn gave a thrilling performance as the Governess.
Vocally resplendent and dramatically acute, she sang with fresh tone in her early scenes, gradually shading the voice with a darker, edgier sound as the extent of her predicament came to light.” - Oakland Tribune/San Jose Mercury News, 2013 (The Turn of the Screw)
“Soprano Laura Bohn gave a superb performance as the Governess, probing deeply into the role's layers of heroism and unease while retaining a bright musical surface to everything she sang.”
-San Francisco Chronicle, 2013 (The Turn of the Screw)
“Laura Bohn was truly formidable. . . It seemed as if the whole production was conceived for her.
After singing an aria which was beautiful and compelling in its expressivity she proceeded to dance in duet . . . the high level of her dance was impressive and convincing..what a powerful singer!”
- Voi-Z Kamer Opera Festival, 2011 (MonteverdISH - L'Incoronazione di Poppea)
“Soprano Laura Bohn is an absolute sensation as Nero.
Not only does she sing the stars from the heavens but she can act and move as well.
She is literally a bridge between the two worlds of opera and hiphop . . .”
-Theater.nl, 2011 (MonteverdISH - L'Incoronazione di Poppea)
“Laura Bohn . . . sounding eloquent and fervent. . .
Bohn - in a long and gorgeous monologue of Wagnerian intensity - lovingly offers up her children to their heavenly father. You know it’s coming but the power of the scene is unbearably heart wrenching even so.“
- San Francisco Chronicle, 2012 (Certitude and Joy)
“But the star of the evening was Bohn, whose sumptuous vocalism, dramatic resourcefulness and superb comic timing made Ariel the real heart and soul of the piece.”
- San Francisco Chronicle, 2011 (Caliban Dreams)
"The multitalented soprano Laura Bohn (Ariel) is quite the find . . A graduate of the Dell’Arte International School of Physical Theater and Manhattan School of Music, with credits that include musical theater as well as opera,
Bohn has no trouble lifting her leg high or climbing a pole while singing an unbroken line . . . she’s totally in her element, and a major delight. "
-San Francisco Classical Voice, 2011 (Caliban Dreams)