"...Alida Augen was a charming Constance."

                                        - Raymond Ericson, The New York Times


"...Alida Augen performed the heroine with an elegant power that would be hard to top."

                                        - Hal Eskesen, The Stamford Advocate


 "...As the lovers Mimi and Rodolfo, Alida Augen and Peter Harvey were splendid.  Miss Augen's voice is true and beautifully toned.  (Her) ‘Mi chiamano Mimi’ glowed with exquisite tenderness and delicate beauty.  Her voice is clear, very flexible and pure of tone.

...Helping to emphasize the content of the story and emotions of the singers was consistently natural acting.  The death scene was handled gracefully and was quite touching.

...Good acting, of course, is not the main criterion of an operatic performance, but when it is as capable as it was Saturday night, it does much to enhance the wholeness of the production.

...The most important ingredient of opera is...the quality of the singing, and this was truly outstanding.

...The duets were sung with each of the voices complementing the other, creating a texture which was especially vibrant and pleasing."

                                         - Judith Vance Weld Brown, The Herald


 "...Alida Augen brought to Violetta a lyric soprano voice of lovely natural quality, well placed, no indication of forcing, and she has the ability to color the instrument through the gamut of emotions. As an actress she had the temperament to be sympathetic with Giorgio Germont and sensitive with Alfredo Germont.  Her attractiveness as a woman made her conception of the part all the more poignant."

                                        - Robert Harry, New Canaan Advertiser


 "...Alida Augen, whose assets are not wholly vocal, sang with smooth, almost caressing tenderness in the Mascagni duet and captured the brilliant gaiety of the Leoncavallo aria."

                                        - Richard Day, Bridgeport Post


 "...She had charm, grace, fine acting ability and an outstanding soprano voice, trained so that every number wafted out in bold but beautiful terms across the footlights."

                                        - Sophie Sinclair, Norwalk Hour


"...She virtually carries every scene she is part of."

                                        - David Paul Smith, The Stamford Advocate


 "...Alida Augen as Phyllis stands out among a very talented cast of principals both for her acting and for the sheer firepower of her voice.  When she tears off a high note, it is thrilling to hear."

                                        - Johan M. Anderson, Stamford Mail


 "...raves of approval for Miss Augen's soprano renditions, which brought 'joy and laughter unforeseen', greatly enjoyed by all."

                                        - Ray Yates, Darien Review


 "...Alida Augen stole the show as Mad Margaret with her delightful voice and wild maneuvers.

...and will always remember ‘Ruddigore’ and Alida Augen as thoroughly, marvelously mad!"

                                        - Sophie Sinclair, Norwalk Hour


"...Her voice was, as always, beautiful, with great agility and warmth of tone."

                                        - Arden Anderson Broecking, Darien News


 "...and above all displays a truly beautiful, well-disciplined voice."

                                        - Wakeman Hartley, Greenwich Village Gazette


"...played with verve, vocal beauty, comic sense and timing, and without any of the cliche traps can set.

...thoroughly funny, yet conveyed just the right degree of pathos.

...blatantly walked off with the show."

                                        - Arden Anderson Broecking, Darien News


 "...very strong voice and almost equally forceful presence."

                                        - Hal Eskesen, The Stamford Advocate


 "...Miss Augen, remembered for her glorious and poignant Madame Butterfly, surprises us with the many-faceted capriciousness and vixen-like quality of her Norina.  She sang with generous and sweet tone."

                                        - Jean Banks, New Canaan Advertiser


 "...She was a decided hit."

                                        - Ray Yates, Darien Review


 "...exceptional performance...and she fulfilled the first requirement of G&S heroines - she is beautiful.  In addition, her voice is strong and true, and she brought real feeling to her character."

                                        - Johan M. Anderson, Stamford Mail


"...She has an unusually big, warm voice for a coloratura, a long well-blended range and is a good actress, with a sense of the silly, an asset to any Gilbert interpreter!"

                                        - Arden Anderson Broecking, Darien News


"...Alida Augen disclosed a very reliable, easily produced soprano in ‘Mi chiamano Mimi’ from ‘La Boheme’ and went on to a convincingly spirited and provocative ‘Quando me'n vo soletta’ from the same opera."

                                        - Richard Day, Bridgeport Post


"...The role of Nedda...was sung by Alida Augen, whose well-placed lyric soprano voice has ample volume to fill a good-sized hall.  She is an excellent actress, attractive and sexy, and as the part of Nedda demands, a little coarse.

...Her solo aria, the Ballatella:  ‘Stridono lassu, liberamente lanciati a vol’...and her duet with Silvio, her lover, were tenderly sung and acted."

                                        - Robert Harry, New Canaan Advertiser


 "...Alida Augen was a passionate Nedda and a delightfully mischievous Colombine.  Her voice was lilting and lucid, especially in the famous Ballatella and ‘Stridono lassu’."

                                        - Judith Vance Weld Brown, The Herald


 "...Fiery Alida Augen does the vixen Nedda with style and insolence, and her duet with Tracy Smith (Silvio) was quite moving."

                                        - Lou Ball, Farmington Valley Herald


 "...Not only is the soprano good to look at, she's a capable actress whose speaking voice is as melodic as her singing."

                                        - Kitty MacVickar, Norwalk Hour


"...blessed with a beautiful voice, plays Mad Margaret superbly.  This role requires the talents of an actress and dancer as well, and Miss Augen does beautifully in all departments."

                                        - Raymond G. Cushing, The Stamford Advocate


 "...She is thoroughly professional with a good, solid coloratura voice and a wickedly impish gleam in her eye."

                                        - Arden Anderson Broecking, Darien News


"...The solo voices are superb; all principals sing and act with fine skill and style.  Alida Augen is always outstanding in her renditions, as she proves again in the role of Mabel."

                                        - Johan M. Anderson, Stamford Mail


 "...Alida Augen's solo work displays lyrical voice quality and temperament - sings with clarity and engaging directness."

                                        - Allan Pryor, Syracuse Herald-Journal


 "...Clearly, their success largely depended upon the lovely soprano voice and acting ability of Alida Augen.  From the moment she first appeared to the final scene, she dominated the stage.  Without question, Miss Augen was the strongest member of the cast, musically and dramatically.  Indeed, her solo, ‘Tis done! I am a bride!’, was both moving and richly sung, while her ‘I have a song to sing, O!’ was delightful."

                                        - Marion M. White, Greenwich Gazette


 "...Mme. Augen has a solid, shiny soprano voice, which moves easily around the demanding range of this role.  Her acting was truthful and charming, with a good emotional life."

                                        - Arden Anderson Broecking, Darien News


 "...Most satisfyingly, Augen as Norina had a trill and put to vigorous use a juicy spinto voice geared as much to Puccini as to Donizetti."

                                       - Frank Merkling, Danbury News-Times


 "...Some of the soloists brought their beloved characters to life with consummate artistry.  The very model of a Gilbert and Sullivan character must sing well, act well, enunciate well, and all with energy and precise comic timing.  On these dimensions soprano Alida Augen, as Casilda, consistently scored points.  She sang with a lovely, clear and forceful voice as a soloist and blended nicely in ensemble."

                                        - Jerome R. Sehulster, The Stamford Advocate


 "...Alida Augen - a singer with dramatic presence and a full, rich voice."

                                        - Jill Shelley, The Stamford Advocate


"...In the role of (Violetta) the doomed courtesan, Alida Augen's effortless soprano generated the real fireworks of the evening."

                                        - Chesley Plemmons, Danbury News-Times


 "...For solos, I was particularly taken with Alida Augen's work in ‘L'anee en vain’ from Debussy's ‘L'Enfant Prodigue’.  She was well-suited in voice quality and temperament to the music in which she appeared."

                                        - Allan Pryor, The Syracuse Herald-Journal


 "...Alida Augen must be mentioned for her superb voice, rich and strong, and her swaggering acting."

                                        - Elizabeth Gershman, Stamford Mail


 "...Alida Augen warbled her way through the role of Patience with a soprano that was rich and vibrant."

                                        - Jennifer Dix, The Stamford Advocate


 "...It was lovely to hear Alida Augen as Casilda.  She has real style, and her full soprano glows from top to bottom."

                                        - Arden Anderson Broecking, Darien News-Review


 "...In the female lead is Alida Augen, applauded for an extraordinarily fine voice in many concert and church appearances here."

                                        - Main and Elm, New Canaan Advertiser


 "...Miss Augen is a definite beauty with a lovely tone that sounds attractive in all registers.  Her role was an appealing one that included three solos, all of which she managed with remarkable ease."

                                        - Marion M. White, Greenwich Gazette


"...There was touching vulnerability as performed by Alida Augen in the role of Violetta with vocal assurance in what is probably one of the most difficult parts in the repertoire.

...She created a dramatic intensity one seldom feels in larger houses with their vast spaces and international super stars."

                                        - Jean Banks, New Canaan Advertiser


"...Alida Augen looked absolutely beautiful and sang the role of Aline with her accustomed professional skill and sound."

                                        - Arden Anderson Broecking, Darien News-Review


"...Alida Augen launched her florid soprano with a will but sounded melting at ‘Incarnatus’."

                                        - Frank Merkling, Danbury News-Times


"...Alida Augen portrayed the vulnerable slave girl, Liu, with sensitivity and remarkable vocal control."

                                        - Robert Harry, New Canaan Advertiser


"...Miss Augen always sings beautifully.  Casilda could be her best role yet.  She had just the right combination of sweet hauteur and ditziness necessary, plus clear diction and a sense of timing."

                                        - Arden Anderson Broecking, Darien News-Review


 "...Alida Augen as Casilda was outstanding; singing beautifully and substantially."

                                        - Valerie Cruice, The Stamford Advocate


"...Alida Augen (Casilda) produced a beautifully clear, bright tone, and she exuded sophistication and quality."

                                        - Mark Shepherd, National G&S Magazine


"...Ruddigore had several of the day's best performers.  The scenes between Tim Jerome as Robin and Alida Augen as Rose stood out among the day's highlights.  Miss Augen's perfectly sculptured voice seemed like a dream come true."

                                        - Mark Shepherd, National G&S Magazine


 "...Special thanks go to an outstanding Amahl, Jenna Augen. Her portrayal of the little shepherd boy was just right for the time and the setting.  Our gratitude also goes to Alida Augen, splendid as the Mother."

                                        - Helen Stauderman, The Redding Pilot

©2014-2016 Alida Augen