Here’s what some reviewers have to say.

“(Lori Ann Fuller) captured the tender mutual dependency of their relationship, while the melodrama of Gilda’s murder came off effectively.  All five principal singers sounded well-coached in their Italian diction.  … Fuller’s radiantly sung Gilda came off the best.  The young DePaul alumna, who brightened Weill’s “Street Scene” last season at Lyric, had the right Gilda voice fresh, virginally pure, possessed of melting beauty in her soft singing agile enough to mail the coloratura of “Caro nome” beautifully.”  John von Rhein, Chicago Tribune, Aug. 13, 2002 – Rigoletto, l’opera piccola

“Thrilling singing makes these three hours fly by, thanks to Lori Ann Fuller as the anguished fiancée.”  Lawrence Bommer, Chicago Reader, June 14, 2002 – Gypsy Love, Light Opera Works

“Fuller’s richly sung Zorika pairs well with Edward’s Jozsi…Genuine triple threats are hard to come by in this line of work. Fuller appears to be one.” Michael Phillips, Chicago Tribune, June 11, 2002 – Gypsy Love, Light Opera Works

“Lori Ann Fuller’s memorable Lyric debut as Rose displayed a lovely vocal sound and natural acting talent.”  William Shackelford, Opera, March 2002 – Street Scene, Lyric Opera of Chicago

“Lori Ann Fuller, making her Lyric debut as Rose…warmed up as the story progressed, bringing an earnest freshness to her love duets and affecting final scene.”  Lawrence A. Johnson, Opera News, Jan. 2002 – Street Scene, Lyric Opera of Chicago

“Fuller’s bright and pure singing provided a suitable beacon for the optimism and strength of the character that eventually allows Rose to flee her brownstone prison.”  Wynne Delacoma, Chicago Sun-Times, Oct. 4, 2001 – Street Scene, Lyric Opera of Chicago

“Some [principals] broke free, to give communicative performances, notably…Lori Ann Fuller as Angela. [She] knew how to put numbers across.” Andrew Porter, Opera, April 2000 – The Firebrand of Florence, BBC Symphony Orchestra

“As Adina, the soprano [Lori Ann Fuller] had a secure top and equally impressive pianissimo.”  Il Nuovo Amico, July 11, 1999 – L’elisir d’Amore, Italy

“The Impresario, as directed by Sue Ellen Kuzma, with all kinds of charming stage business, is really funny in a Marz Brothers sort of way…The sopranos in addition to singing like angels, achieve some unbelievable screeches.”  Christopher Hyde, Maine Sunday Telegram, July 30, 2000 – Impresario, P.O.R.T.

“Lori Ann Fuller was a sweet sounding shepherd boy.”  Maria Nockin, theoperacritic.com, Oct 2007 – Jenufa, Los Angeles Opera