Selected Press Acclaim


Birdie (Regina), anonymous

The New Yorker
“…there was a perfect Birdie, Barbara Hocher…”
(Regina, Michigan Opera Theatre)
— Andrew Porter

The New York Times
“The finest showing of the performance, vocally and theatrically, was by Barbara Hocher, who made Birdie Hubbard a sympathetic character of exceptional intensity.”
(Regina, Wolf Trap Opera Company)
— Theodore W. Libbey Jr.

The Washington Times
“…it was Hocher’s Birdie, keenly sensitive to the opera’s dramatic nuances, that was transcendent.”
(Regina, Wolf Trap Opera Company)
— Jerry Floyd

The Washington Post
“…was consistently out-acted and out-sung by the actress in the role of the tender, pathetic Birdie… Birdie was soprano Barbara Hocher, who brought considerable splendor to the Wolf Trap Company this summer as Fiordiligi in …Mozart’s Cosí fan tutte. Hocher has a large, resonant voice that she uses with considerable finesse. Her acting put all others in the shade, and she was rewarded with a long ovation at the scene’s end.”
(Regina, Wolf Trap Opera Company)
— Lon Tuck

The Washington Times
“…it was Barbara Hocher’s Birdie that carried Regina to the troupe’s greatest triumph in the last half dozen years. Hocher’s vocal and, especially, dramatic successes made hers the most memorable company soprano performance since Beverly Sills’ 1979 Guest Violetta.”
(Regina, Wolf Trap Opera Company)

Adina (The Elixir of Love), Nelson Ho ©

Honolulu Advisor
“Soprano Barbara Hocher as Adina…simply soars in her solos, duets, and ensemble passages. She seems totally at ease with the endless virtuosic trills and swells that hallmark early 19th century Italian opera.”
(The Elixir of Love, Hawaii Opera Theater)
— Howard Driver

New York Post
“Barbara Hocher sang her very high part with surprising, silvery ease and sweetness.”
(Frau Hasentreffer, Der junge Lord, New York City Opera)
— Harriet Johnson

Lady with a Cake Box (Postcard from Morocco), Richard Braaten ©


The Denver Post
“Barbara Hocher was splendid, unleashing her lyric soprano admirably as the Lady with a Cake Box.”
(Postcard from Morocco, Central City Opera)
— Max Price

Opera Magazine (London)
“Barbara Hocher, whose superb bearing and full lyric soprano mark her for a sizeable future.”
(Lady with a Cake Box, Postcard from Morocco, Washington Opera)
— Charles Jahant

The New York Times
“Miss Hocher’s big aria was simple and even sentimental, and she sang it with a lovely, nuanced, beautifully focused tone.”
(Lady with a Cake Box, Postcard from Morocco)
— Harold C. Schonberg

The Washington Post
“As the Lady with a Cake Box, Barbara Hocher’s scena provided one of the evening’s most gripping moments…”
(Postcard from Morocco, Washington Opera)
— Octavio Roca

The Washington Star
“Matching his vocal and dramatic intensity was Barbara Hocher (Lady with a Cake Box), whose ‘I keep my beloved in a box’ was once again one of the expressive pinnacles of the performance.”
(Postcard from Morocco, Washington Opera, 1981)
— Theodore W. Libbey Jr.

The Boston Globe
“Outstanding performance by Barbara Hocher as the shrill lady.”
(Birtwistle’s Down by the Greenside, Tanglewood)
— Michael Steinberg

New York Post
“Barbara Hocher, a lovely girl to look at, had an equally attractive lyric soprano and moved about the staff with ease and elegance as Fortuna…and as Drusilla.”
(L’Incoronazione di Poppea, New York City Opera)
— Speight Jenkins

Mimi (La bohème), Paul Quinn ©

Haverhill Gazette
“Barbara Hocher took the role of Mimi and her voice was the model of taste and musical refinement, particularly in the final act when her farewell brought tears to the eyes.”
(La bohème, Boston Opera tour)
— Tom Vartabedian

The Washington Post
“Hocher performed spectacularly, in fact, in the St. Sulpice scene from Massenet’s Manon, with silvery tone, fine legato line and a graceful sense of the music’s form and style that added up to one of the most memorable moments in the whole program.”
(Opera Gala, Wolf Trap Opera Company)
— Joseph MeLellan

Fiordiligi (Cosí fan tutte), Nora Heimann ©

The Washington Post
“…It was fortunate that the finest singing came from Barbara Hocher as Fiordiligi. If you’re going to cast one role strongly, that’s the one. Hocher showed fine Mozart phrasing, really excellent coloratura and splendid vocal heft in places such as the finale of act one, where Fiordiligi’s voice must soar above the others in some of the most resplendent music Mozart ever wrote… The long lament in the second act was satisfying indeed.”
(Cosí fan tutte, Wolf Trap Opera Company)
— Lon Tuck

The Freeman’s Journal
“Barbara Hocher’s performance as Konstanze is a masterful portrayal….Hocher’s impassioned singing of the aria [Martern aller Arten] brought one of the longest and most deserved ovations of the performance.”
(The Abduction from the Seraglio, Glimmerglass Opera)
— Ted Potrikus

Albany Times Union
“One must start with Barbara Hocher as Konstanze. It would be well worth the trip to merely hear Hocher sing the extraordinarily difficult and beautiful aria, Martern aller Arten.”
(The Abduction from the Seraglio, Glimmerglass Opera)
— Vinny Reda

The Times Record
“Barbara Hocher stopped the show with a meltingly lovely aria in Act I, and elsewhere sang with full bodied tone.
(Cora, The Last of the Mohicans, Lake George Opera)
— Doug de Lisle

Rosalinde (Die Fledermaus), Duane Morris ©

The Register-Guard
“Barbara Hocher as Rosalinda was the visual and vocal embodiment of Vienna. She was a strong, sure part of all the ensemble work.”
(Die Fledermaus, Eugene Opera)
— Sue Keene

The Washington Times
“Barbara Hocher as the housekeeper demonstrated again what a versatile actress she is, in addition to being a first-rate singer.”
(Mrs. Grose, The Turn of the Screw, Washington Opera)
— F. Warren O’Reilly

Cio-Cio-San (Madama Butterfly), (anomymous)

The Times-Herald
“Ms. Hocher … possesses an amazing range and absolute command of her voice. Her ability to sing clearly in soft passages was exceptionally beautiful.”
(Cio-Cio-San, Madama Butterfly, Virginia Opera Theater)
— David Nicholson

The Youngstown Vindicator
“Miss Hocher’s warm, floating soprano joined Pruett (the Duke) for an impassioned duet. Her high, clear tones created a mood of rapture. Then she demonstrated her artistry in switching from lustrous high tones to mellow ones with an enchanting interpretation of Caro nome.”
(Gilda, Rigoletto, Youngstown Symphony)
Adrian Slifka


The New York Times
“…Mahler’s Symphony No. 4, with Barbara Hocher’s fluty soprano serving up delicious sounds in the finale…”
(Carnegie Hall, American Symphony)
Donal Henahan

The Washington Post
“The heart of her artistry was her adaptability to the needs of each text.”
(Recital, Phillips Collection, Washington, D.C.)
— Cecilia Porter

Ilia (Idomeneo), Beth Bergman ©

Pioneer Press
“In Barbara Hocher…they had exponents of vocal gleam and fine sense of line. Miss Hocher was particularly affecting in the velvet sweetness of her voice and her beautifully sustained and controlled cantilena.”
(Ilia, Idomeneo, Minnesota Orchestra)
— John H. Harvey

Minneapolis Star
“Barbara Hocher sang with magnificent clarity and expressiveness as Ilia.
(Idomeneo, Minnesota Orchestra)
Roy M. Close

The Record
“… Ms. Hocher’s blithe soprano voice – and blithe spirit too – was beautifully suited to…Mozart’s “Exsultate, jubilate” and Mahler’s Symphony No. 4.”
(Soloist, New Jersey Symphony, tour)
— David Spengler

The Charlotte Observer
“Ms. Hocher, who has performed with the Oratorio Singers in Haydn’s The Seasons, has a beautiful, floating voice. When she sang of the joy that no one can take away, she was transcendent. When she sang of comfort, her tone soothed and caressed.”
(Soprano soloist, Brahms’ Requiem, Oratorio Singers of Charlotte)
— James T. Banbury

The New York Times
“In “Circles” the light-voiced Miss Hocher…handled Berio’s vocal gymnastics and phonetic jokes with surprising ease and panache.”
(Berio’s “Circles,” Tanglewood)
— Donal Henahan

The Berkshire Eagle
“…immeasurably enhanced by the vocalism of soprano Barbara Hocher, whose execution of all the types of phonetics Berio indicates was remarkable.”
(Berio’s “Circles,” Tanglewood)
— Jay C. Rosenfeld

San Francisco Examiner
“Miss Hocher’s tone was exceptionally fresh and free.”
(Bach Concert, San Francisco Symphony)
— Alexander Fried