Amalia Habitué/Shirl in The Artwork of the Future, Fresh Squeezed Opera (2023)
“[Eric] Moe’s restless, atonal score is packed with almost more ideas than it can contain, and conductor Alex Wen led with crisp, clear authority. The four hardworking singers did an astonishing job unfurling their lyrical lines over the busy instrumental underpinnings, which offered little obvious pitch reference. […] Mezzo Brittany Fowler gave Amalia a quirky sense of inner life, as if everything were a private joke, and found a lightness as Shirl, a jaded lotus eater 150 years in the future who rejects her drug-pushing robot butler to join Spearmint and Najeen in repointing the way toward a better future.” – Opera News
“In the roles of Shirl and Amalia Habitué, the flirty scientist who teases the artists with the secret of the time machine, Brittany Fowler brought a flexible mezzo-soprano and vivid characterizations out from under her oversized Marilyn Monroe wig.” – New York Classical Review
“In the final scenes, Brittany Fowler absolutely blew me away when she became Shirl, who carried the sci-fi parable to its conclusion. Her voice and appearance in this role were exuberant and full of life. I especially enjoyed her costume and how she effortlessly personified the music through her presence. Shirl, a 24th century hedonist convinced there was no future for humanity, felt like Brittany Fowler’s dream role. She leaned into Shirl’s radical ideas by vocally and emotionally dramatizing what I imagine futuro-pathetique to be. I loved watching Fowler’s facial expressions and over-the-top whimsical nuances.” – OperaWire
Venere in L’Euridice, The Cantanti Project (2018)
“As Venere, goddess of Love, Brittany Fowler’s striking presence and commanding singing made her the perfect advocate for Orfeo at Pluto’s court. ” – Oberon’s Grove
Soloist, Opera on Tap: Home-Brewed Opera (2017)
“Luckily, to fill out the high-pitched program were mezzo Brittany Fowler and lone male baritone, Luke van Meveren, both with rich, resonant tones.” – OperaWire
The Mother in Amahl and the Night Visitors, Music at the Church of the Transfiguration (2015)
“The mother was portrayed and sung by Brittany Fowler whose luscious mezzo soprano illuminated the stage with her duets with Amahl and the cherished “All that gold!” which was sung with the passion of a Puccini heroine. Ms. Fowler’s diction was crisp and clear and her impact on the audience was vivid and visceral.” – Brooklyn Discovery
La tasse chinoise in L’enfant et les sortiléges, Utopia Opera (2015)
“The funniest bit was the song and dance of the Teapot and the Teacup, performed respectively by Erik Bagger and Brittany Fowler singing a strange amalgam of French, Japanese and Mandarin.” – Voce di Meche
Soon-Yi [Marcellina] in ¡Figaro! (90210), Morningside Opera (2013)
“Brittany Fowler was an efficient Marzellina whose characterization deepened after the revelation of her relationship to Figaro.” – Opera Obsession
“Brittany Fowler and AnnMarie Sandy brought mellow altos to the sweatshop dragon lady and frustrated gangsta’s mom.” – Parterre Box
La Musica (L’Orfeo) and Nerone (L’incoronazione di Poppea) in Scenes from Monterverdi’s Operas, New York Continuo Collective (2012)
“The best of the performances included Brittany Fowler’s dynamically fluid characterization of La Musica in the Prologue from “L’Orfeo,” and the parting duet from Act I of “L’Incoronazione di Poppea,” with Ms. Fowler in the soprano role of Nero and Christine Bancroft, a soprano with a dark, mezzolike tint, as Poppea.” – The New York Times