"Ready-for-anything character actor"

"...warm, beautiful voice peppered with technically perfect coloratura."

"...a tour de force of diction, precision and pizzazz"

"...sparkled with spontaneity..."

"The mezzo Lisa Marie Rogali, in her house debut, is a Rossini star in the making. As Rosina, whose liberation from being cooped up in Dr Bartolo's house is the point of Il barbiere, her rendition of 'Una voce poco fa was magnificent. Lovely in a lavender gown, she completely inhabited the cavatina, dashing off Rosina's florid account of herself with octave-leaping vocalism, lively dance steps and a witty air of mischief. "

(Opera with Opera News)

“Mezzo-soprano Lisa Marie Rogali lent her strong, resonant lower register and bright, sweet upper notes to the role of Rosina. Her melting lyricism and confidence in the coloratura passages made her trademark aria “Una voce poco fa” a highlight. Happily she captured the strength and determination of the character, avoiding cliches of the submissive ward and previewing the independent countess of Mozart’s Marriage of Figaro”

(Sharps & Flatirons)

Lisa Marie Rogali’s good looks and lush mezzo tones made her a center of attention when the glamorous Paquette was on stage.

(Opera with Opera News)

"Sultry mezzo-soprano Lisa Marie Rogali [delivers] a not-to-be-missed, bang-up performance..."

"...intensely aware of her body: she’s the essence of sultry, supple sex appeal, especially when she lounges on a table or seductively dances to castanets."

(The Virginian-Pilot)

"...if you want to know what a mezzo-soprano is and what she can do, go hear this performance. The young, multi-award winner, Lisa Marie Rogali has a beautiful instrument, lovely lows that can soar thrillingly... I felt that her excellent acting skills allowed her to not only hit the notes, but to play with them in a seductive manner like a Carmen might do. I was captivated."

(Opera Gene)

“Mezzo-Soprano Lisa Marie Rogali’s range was not only impressive, but her ability to have tonal fullness and brilliance through the entirety of the performance was truly exceptional. Her vocal agility as the ward Rosina and her ability to play off her scene partners perpetuated a lightness throughout the show.”

(Chatham Life & Style)

“Lisa Marie Rogali was a breathtaking Rosina. She sang with a grace and lyricism that was matched only by her amazing physical range from ingénue to comedienne."

(Triangle Sings)

“With a voice smooth and stable, mezzo-soprano Lisa Marie Rogali provided a compelling Rosina both in look and sound. Rogali’s Act I aria “Una voce poco fa” was more than enough to convince the packed house that she had brought her A-game to the Triangle.”

(Cultural Voice of North Carolina)

“Live-wire mezzo Lisa Marie Rogali aced Stéphano’s tricky chanson.”

(Opera News)

“Lisa Marie Rogali was a pert Stephano.”

(Wall Street Journal)

“Among the singers getting just a few minutes before the public, mezzo Lisa Marie Rogali made a strong impression in the trouser role of Stéphano, Roméo’s page, delivering her third act “Que fais-tu, blanche tourterelle?” with gusto and mellifluous phrasing, while her acting was full of youthful élan.”

(Bachtrack)

“Mezzo-soprano Lisa Marie Rogali makes a memorable impression in a “trousers role” take on Roméo’s pageboy Stéphano in her rendering of the exquisitely ironic Act III chanson Que fais-tu blanche tourterelle?”

(La Scena Musicale)

“The large supporting cast had many fine moments, especially mezzo Lisa Marie Rogali who as a taunting Stephano carried the start of that fight scene.”

(Times Union)

Mezzo soprano Lisa Marie Rogali wonderfully evoked the otherworldly nature of the Elf with her superb vocal agility and with periodic twitchy gestures. She radiated warmth when the Elf was in its happy place, nestled within the petals of the rose blossom.

(Northwest Reverb)

“Mezzo Soprano Lisa Rogali’s rendition of Una voce poco fa by Rossini revealed a warm, beautiful voice peppered with technically perfect coloratura.”

(Good News Planet)

“Mezzo-soprano Lisa Rogali has a true mezzo sound that was just right for Rosina's aria "Una voce poco fa" from Rossini's Il barbiere di Siviglia. We heard some more than usually interesting embellishments of the vocal line, all successfully negotiated.”

(Voce Di Meche)

"Among those he encounters along the way, standouts include Lisa Marie Rogali, whose vivacious coloratura and ready-for-anything character actor instincts are used to great effect as a princess in a nightmarish bedtime story and a joyously scavenging dog.”

(StarTribune)

“While it would seem there’s no time for showstoppers in a show of this pace, Lisa Marie Rogali comes pretty darn close. As the bride experiencing a confounding itinerant wedding reception, she must periodically pause to ponder her commitment to this man, and Rota gives her the opera’s most beautiful music to do it. Rogali makes each aria transporting, her pure, nuanced voice touching hearts while the rest of the opera tickles your funny bone.”

(Pioneer Press)

"As the bride, made to traipse all about Paris after her hat-seeking husband, Lisa Marie Rogali sings sweetly... She does a fine job expressing her conflicted emotions between romantic love and the ordeal of her run-amok wedding day."

(Talkin’ Broadway)

“Lisa Marie Rogali (as Elena)’s beautifully rendered duet “Trema nell’estasi d’amor” / “Oh si…è gioia” with Steson/Fadinard was one of the highlights of the opera.”

(Twin Cities Arts Reader)

“The beautiful bride Elena, Lisa Marie Rogali, centers this comedy with a young woman who has little control on her wedding day, dashed between her domineering father and nowhere to be found groom. Rogali draws the attention to her innocence and true love when she sings together with Stenson's Fardinard in ebullient affection.”

(Broadway World)

“The standout among the other cast members was Lisa Marie Rogali, who was a fizzy, thoroughly charming Lisette from the opening party scene to her chastened return to Magda's household at the end. Her Act I rouser, "Un momento, scusi ecco," is a tour de force of diction, precision and pizzazz.” (Opera News)

“Lisa Marie Rogali’s mischievous Lisette sparkled with spontaneity and was sung vibrantly. Beside her the Prunier of Christian Sanders cut a raffish figure, and their interplay lit the stage in its three-dimensionality.”