“Soprano Rena Harms gave the title character’s music a winningly liquid, swooping aspect in a passage from Strauss’ Arabella.”

 

“The Donna Elvira, Rena Harms, was outstanding. Her Act II aria “Mi tradi quell’alma ingrata” was moving...

Rena impressed me the most, she even had me near tears.”

 

“Finally, I can scarcely believe that soprano Rena Harms is a student at the Academy, so poised and exquisite was her singing of Samuel Barber’s incomparable setting of James Agee’s ‘Knoxville: Summer of 1915,’ yet the program claimed her as an ‘academy young artist,’ so I must take them at their word. Neither Harms nor the wonderful ensemble, conducted by Warren Jones, batted an eye when the fireworks began in earnest halfway through the song. Talk about shock and awe!”  

“Rena Harms’s First Maid was adorable as she flitted around the stage with exuberance.”

(Der Zerbrochene Krug)

-Operaonline.us

“Rena Harms's Fiordiligi showed tremendous promise…[her voice] was impressively easy in every register… Harms's "Per pieta" was her best moment, taking advantage of her big range.”

–The Washington Post

 

“Some of the most magical moments of the evening belonged to Rena Harms as Micaela, the original object of Don Jose’s affections. Harms consistently found the sweet spot with her singing, and took the prize for establishing the most noticeable and exquisite rapport with the orchestra. At times during Act III, Harms seemed to be singing directly to the conductor in the pit, and the result was heavenly.”

-The Santa Barbara Independent

 

“Rena Harms’ lush, warm soprano was a standout. Watch out world! Her voice was that stunning.” (Press conference for LAOpera)

-Operaonline.us

 

“Soprano Rena Harms brought dramatic vividness and vocal flourish to the role of Donna Elvira”

-The San Francisco Chronicle

 

“Rena Harms’ vibrant Donna Elvira”

-San Francisco Classical Voice