The Three Little Pigs (Prelude Opera, 2017); Photo by Jonathan Rothermel

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 sortilégesUtopia 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