As the title role in Euripides' Andromache with American Thymele Theatre, 2014:

"Leanne Gonzalez-Singer... [brought] a charismatic presence, emotional commitment and surefooted negotiation of the text to the stage... delivered in clear tones, with a beautifully produced and nicely pitched contralto voice. The petite actress was a study in disgust and outraged virtue, heated by terror and regret. Although her fears for herself and her child were palpable, she never permitted them to mar her precise delivery of Euripides...."

- Kathryn Allyn, arts blogger, at

"When Hermione put down [Gonzalez-Singer, as] Andromache for sleeping with her husband’s killer, the latter gave both Laconian men and women a vicious tongue lashing... judging from their enthusiastic applause ... the audience disagreed with critics [of Euripides' drama] who feel it lacked dramatic unity... the music, lighting, and acting by the huge cast left the audience in a properly cathartic state."

- The National Herald,

In Dialogue des Carmelites with dell’Arte Opera Ensemble, 2012:

“Leanne Gonzalez-Singer projected the deep lines of the elderly prioress Madame de Croissy in a rich chest voice and played her death scene with stoic dignity."

- James Jorden, New York Post


“As the old Prioress, Leanne Gonzalez-Singer shone..... [she] moved to the terror of death from her early scene as a compassionate and warm mother....while bringing her voice forward into a perfect
emotional pitch.. . .Gonzalez-Singer triumphs in the role …."

- Susan Hall, Berkshire Fine Arts:


“[Gonzalez-Singer’s] death scene at the end of Act I was wrenching, a foretaste of the dark events to come."

- Paul Pelkonen, Super Conductor


“Leanne Gonzalez-Singer made an unusually gentle Madame de Croissy."

- Paperblog Culture Magazine

In Carmen with Opera Omaha:

“...Leanne Gonzalez and Rosalie Sullivan were enchanting in their parts, and their accurate singing and realistic stage deportment helped make this a fine production."

- Maria Nockin,