"[Lamoreaux's] silvery vibrance recalls that of such exponents of the Austro-German school as Gundula Janowitz and Elisabeth Schwarzkopf."
Wall Street Journal, 2015
"Soprano Rosa Lamoreaux has a voice like honey with little silver bells in it (there's just no other way to describe it) and sang a 17th-century motet from Isabelle Leonarda with such ear-melting beauty that you wanted to follow her around forever."
Washington Post "a radiant "Laudamus Te" with her usual grace and refinement"
Washington Post "Lamoreaux was also excellent, expertly modulating her silvery tone for the various roles she took."
Minnesota Public Radio CD Review
What the Critics Say:
"A wonderfully rich timbre and an amazingly flexible voice...combined with her excellent diction, technical mastery and engaging personality makes for a first-rate performer."
The Washington Post
"Each song was a self-contained dramatic or lyric statement, requiring its own approach, and for each she found the right kind of expression, enhanced by a voice that has few peers for sheer tonal beauty."
Joseph McLellan writing about her Mozart and Schubert, The Washington Post
"A masterful art singer, flexible, brilliant and full of personality, but never overpowering of her colleagues."
Richmond News Leader
"Lamoreaux really demonstrated command of style in Claudio Monteverdi's "Exulta filia Sion". Accompanied by Romanaus, she sang the copiously ornamented work with remarkable accuracy. Lamoreaux even employed the seldom-heard but stylistically appropriate "trillo" ornament - a rapid reiteration of a single pitch."
"Not a lot of singers out there can meet these technical demands and even fewer can make doing so sound easy and musical. Lamoreaux did all this without turning a hair. Her duetting with the flute sounded like a single voice with interesting overtones, and throughout, her telling of this bit of classical romantic enthusiasm was comfortably restrained and intimate-sounding." Joan Reinthaler writing about Handel in The Washington Post
" The perfect vocal match of Arlene Auger and Rosa Lamoreaux in the Christe Eleison [Mass in B Minor] was almost an excess of vocal beauty."
The Morning Call, Bethlehem, PA
"A soprano of delicious temperament and outstanding vocal focus."
WQED-FM, Pittsburgh, PA
"The soloist, soprano Rosa Lamoreaux, possesses an exceptionally ravishing voice to match a superb delivery style."
"And there is simply no better baroque soprano in Washington than Rosa Lamoreaux. With a voice of pure silver, she sang her music radiantly, turning high notes into bursts of pure light." Joe Banno writing about Handel's Messiah in The Washington Post
"An incandescent presence and a voice to match it. Her technique was perfect, and her expression contained all the emotion and sensitivity inherent in Bach."
The Evansville Courier, Indiana