“Soprano Othalie Graham’s princess was imperious of voice and stature throughout. Her voice is a thrilling amalgam of gold and steel, and she sang Puccini’s challenging leaps and ever-increasing vocal ascendancy with great power and ease. She was fierce in her telling of Turandot’s fears (the rape of her ancestor in this very palace, ‘In questa reggia’) and ferocious in her determination to remain solitary by imposing three deadly riddles (‘Straniero, ascolta’). Yet Graham also showed vulnerability in her softened plea to her father the Emperor, begging him not to have her marry (‘Figlio cel Cielo!’).”
San Francisco Classical Voice / July 11, 2009 / James Keolker

“The company’s new production of Puccini’s bloody final work, playing at the Lesher Center for the Arts in Walnut Creek, has its ups and downs, but in soprano Othalie Graham it can boast a leading lady of prodigious vocal and dramatic force. And without the right Turandot, there’s no ‘Turandot.’ Graham, who made an impressive company debut three summers ago as Tosca, brought the same combination of vocal prowess and regal stage presence to this assignment Tuesday night. As the steely Chinese princess who keeps her empire under a bloody reign of terror while working out her obscure psychosexual issues, she unleashed a potent and superbly controlled sound that conveyed the implacable firmness of the character while hinting at the emotional undercurrent that ultimately wins out. ‘In questa reggia,’ the Act 2 showpiece that marks Turandot’s long-delayed vocal arrival (she appears mutely for a moment in Act 1), found Graham deftly negotiating Puccini’s demands for both heroic power and intimate lyricism. And if Graham couldn’t make Turandot’s final conversion to the power of love entirely convincing – who could? – she delivered it with unflinching precision and presence.”
San Francisco Chronicle / July 17, 2009 / Joshua Kosman

“the Canadian soprano's timbre and power were thrilling - steely ring from top to bottom - and her path from imperiousness to passion was convincing.”

“The title role was sung by Othalie Graham, a remarkable Canadian soprano who has made something of a specialty of the grueling role, and has apparently survived unscathed. Her voice is sumptuous, with firmly-focused, penetrating high notes that subjugated the other onstage performing forces. Those awesome high C’s were made even more impressive by her dead-on intonation. Possessing beauty, temperament and superb acting skills, Graham is destined for stardom in the world of opera. The Met would do well to snag her for their roster.”

"Graham's grand gleaming voice soared over the colorful, but often loud orchestra, handling the role's notoriously punishing tessitura with ease. Hers is a sound that could fill any major opera house. Imagine its impact in the Palace, a theater less than half the size of the Met..... the Riddle Scene was electric and her final duet with Calaf in Act 3 must rank among the more thrilling CGO&O experiences in the Palace Theatre."
By Jerome R. Sehulster, Special Correspondent
Article Launched: 05/18/2008

"The second cast Turandot, Othalie Graham, had a clear, secure and powerful voice and gave a very account of herself in her demanding first aria, (In questa reggia)."
Turandot Michigan opera / Opera Review by Dina Soresi Winter / Grosse Point News / April 26 2007

"Graham offered more eloquence, capturing Turandot's latent vulnerability as she recounted her tragic family history, and shaping her phrases with a lovely tone and arching line even at full volume."
Detroit Free Press / Mark Stryker / April 23, 2007

“The centerpiece in this musically strong and dramatically vivid production is a new Turandot. Soprano Othalie Graham is undertaking Puccini’s icy princess for the first time. Graham commands the stage with her imperious presence and powerful voice. Turandot is one of the most demanding roles in the dramatic soprano repertory. As she beheads the suitors vying for her hand, Puccini asks his princess to soar up to high B’s and C’s and dominate the massed voices of the chorus and other soloists. Graham commands the voice to do that. In Turandot’s dramatic entrance aria, Graham’s soprano flashes through the Grand Opera House like a javelin tipped with bronze. In the ‘riddle scene’ in which Turandot tests the unknown prince, her voice takes on a steely shine as it soars through the testing vocal lines. This impressive Turandot stands at the center of a traditional but impressive production...The audience cheered Graham at the end of Saturday evening’s performance.”
Courier-Post / November 1, 2004 / Robert Baxter

“Giacomo Puccini’s ‘Turandot’ explores anguish on a grand scale. The OperaDelaware production describes a violent, degraded society. That Puccini creates such a world with some of his most beautiful music is especially ironic. As Turandot, Othalie Graham doesn’t sing until the middle of Act II, but when she does her soaring soprano gives life to the loodthirsty princess. A recent graduate of the Academy of Vocal Arts in Philadelphia, Graham, 30, has the power and range to make Turandot as intriguing as her riddles. She cuts a majestic figure, but that remarkable voice makes the audience believe a score of noblemen would die for the chance to love her.”
The News Journal / November 3, 2004 / Tom Butler

“Othalie Graham, for example, in the role of Turandot, has a huge, powerful voice that fills the auditorium and navigates the musical difficulties beautifully. Simon Kyung Lee, in the role of Prince Calaf, matches her strength well.”
Deseret Morning News (Salt Lake City) / July 12, 2005 / Rebecca C. Howard

“Rearrange schedules, change plans, and run to see this vocally and visually stunning new production featuring a young dramatic soprano (Othalie Graham) who is destined for international stardom. As Turandot, Othalie Graham electrified the audience with enormous vocal power, tonal depth, and dramatic savvy. The young singer’s striking appearance, musicianship, and poise brought to mind the famed soprano Jessye Norman...The South Korea-born tenor matched well with Graham, demonstrating enough vocal heft to keep up with the imposing soprano.”
Salt Lake Tribune / July 7, 2005 / Robert Coleman

“Puccini’s writing for Turandot was almost as cruel as her character, demanding stratospheric high notes and almost Wagnerian stamina. Canadian-born soprano Othalie Graham, who played Aida last season for Bohème Opera, managed the high-flying lines with strength and cut an aptly imperious figure.”
The Star-Ledger / November 6, 2006 / Bradley Bambarger

“Bohème Opera assembled a strong cast led by soprano Othalie Graham in the title role...Graham commands a big, steely voice that opens up with impact in the high climaxes...her soprano rode the chorus and orchestra with thrilling impact. Graham proved fearless in the testing riddle scene when Turandot challenges Calaf to win her heart. Her voice rang out with authority in the warm acoustics of the War Memorial...Together, the tenor and soprano made quite an impression when they soared up to sustained high notes.”
Courier-Post / November 6, 2006 / Robert Baxter

"Such a magnificent opera calls for strong voices. Aida, sung by a sturdy Othalie Graham, possesses a magnificent soprano with a mellow tone and a pretty face. She conveyed the anguish and tortured self conflict over her loyalties to good effect."

"The smart casting contributed to this performance's success as Graham's high-soprano voice rang through the air..."

"soprano Othalie Graham, an arresting Angel"
The Salt Lake Tribune / May 12 2007 / Terfel's 'Elijah' for the ages / By Catherine Reese Newton

"The other singers were also superb. Particularly noteworthy were Graham's "Here Ye, Israel"
Choir's 'Elijah' a feast for ears / By Edward Reichel / Deseret Morning News / Tuesday May 15 2007

“From the moment the curtain rose on a beautiful scene populated by singing Huns the audience knew it was in for a treat. What they didn't know was that Othalie Graham in her Sarasota Opera debut would come roaring in as Odabella and blast Young-Bok Kim's Attila off his throne. Like Abigaille hammering Nabucco, she gave clear notice from the outset that she wasn't about to be pushed around. Othalie Graham had a big exciting voice…”
Seen and Heard International Opera Review / Lew Schneider

“Othalie Graham was a physically striking Odabella with gleaming high notes…”
Miami Herald / March 7, 2007 / Lawrence A. Johnson

“And that brings us to Othalie Graham as Odabella. It’s an arduous role, combining the facility of a coloratura with the power of a dramatic soprano and a range that jumps from the heights to the depths, all within one character. When Graham made her first appearance on stage and let loose with her opening notes, it was as if a typhoon had been unleashed. This is a soprano with an enormous, no, a humongous voice...She soars over everything, orchestra, chorus, and other soloists. Reigned in and tempered, this is a voice to be reckoned with…”
The Observer / March 1, 2007 / June LeBell

“Soprano Othalie Graham certainly displayed the stage presence the role demands, marching on in a fury (and a breastplate) and handling her sword with terrifying expertise…”
Herald Tribune / February 20, 2007 / Richard Storm

“The evening’s one arresting asset was the company debut of soprano Othalie Graham in the title role, a high-powered blend of musical assurance and theatrical temperament. Singing the role for the first time, Graham displayed a potent and secure soprano that soared effortlessly through the role. Most impressive was her blend of delicacy and sheer muscle, which often combined forces within the space of a single phrase...her rendition of ‘Vissi d’arte’ was a heartbreaker.”

San Francisco Chronicle / July 10, 2006 / Joshua Kosman

“Singing the first ‘Tosca’ of her career, Othalie Graham introduced a large, bright-toned soprano...”
Contra Costa Times / July 10, 2006 / Georgia Rowe

“The opera’s center remains, of course, Tosca. And that is currently the case with Festival Opera’s production at the Dean Lesher Regional Center for the Arts in Walnut Creek, where the young Canadian soprano, Othalie Graham sings the title role. Miss Graham is a wellspring of unstinting sound. Her Tosca is immediately in command, whether hectoring her lover, Mario Cavaradossi (‘Perchè chiuso? Why is the door closed?’), revealing her jealous nature (‘A chi parlavi? Who were you talking to?’), giving in to her her piety (‘O! innanzi la Madonna! Oh, don’t kiss me in front of the Madonna!’), or her suggestive romanticism (‘È luna piena, There’s a full moon out tonight’) - all delivered with pointed expression within minutes of her appearance. Miss Graham also gives her character musical dimension, using Puccini’s softer passages to build toward her exciting full-voiced climaxes. Her offstage anthem in Act Two (‘A te quest’inno di gloria a te, May this hymn of glory rise to thee’) was so lovely you hated to hear it end. And yet within moments she was unleashing a corruscating dismissal of Scarpia, the Roman chief of police, and his insinuating interrogation as to Mario’s whereabouts (‘Demone!’ ‘Ah! mostro!’). Likewise, she dominated Puccini’s carefully escalating coil of tension as Scarpia requires more of her than information, each vocal demand intensely building upon the other in a futile attempt to free Mario (‘Cessate!’ ‘Quanto?’ ‘Il Prezzo!’), climaxing with her fervent prayer, ‘Vissi d’arte, vissi d’amore, I have lived for art, I have lived for love.’ This brought the opera to a near standstill, Miss Graham spinning out such lovely arabesques of sound, she received prolonged applause. And yet she was soon terrifying in her repeated stabbings of the hateful Scarpia (‘Muori dannato! Die damned!’), nervously standing over him (‘È morto! Or gli perdono! He’s dead! Now I can forgive him!’), and making a slow, trembling exit. This Tosca has not the bright, steely sound of a Maria Callas, but rather the softer texture of a Leontyne Price, with its subtle coloration and haunting smokiness...And thus her run to the parapet and jumping off with the fierce cry, ‘O Scarpia, avanti a Dio! Oh, Scarpia, we will meet before God!’ seemed as inevitable as Puccini had wished.”
San Francisco Classical Voice / James Keolker

“...well done was the Act II duet from Aida, featuring soprano Othalie Graham and mezzo-soprano Soo Yun Chung. Far and away the most daunting music sung all evening, the two young women performed it with impressive vocalism and memorable passion.”
Chestnut Hill Local / February 8, 2001 / Michael Caruso

“Debuting as Aida, Othalie Graham is a Canadian import with a gorgeous high range.”
The Times, Trenton / November 8, 2005 / Anita Donovan

“The centerpiece in this production is the Aida of Othalie Graham. Playing the role for the first time, Graham sings with lyrical power and acts affectingly. Aida is torn between her love for Radames and her devotion to her father. Moving elegantly, the soprano portrays Aida’s plight with innate dignity. Graham’s keen-edged, metallic voice loves to soar high and sing loud...She rides the great second-act ensemble powerfully and crowns the Nile aria with a shimmering high C.”
Courier-Post / November 7, 2005 / Robert Baxter

“Othalie Graham dominates the stage from her first entrance as Elektra crawls from a hole and scatters the servants with her manic appearance. She commands the vocal and dramatic resources for this harrowing role. Graham’s big, shining soprano soars up to the high C’s and plunges into the depths with the impact of a knife thrust.”
Courier-Post / March 2, 2004 / Robert Baxter

“Othalie Graham was just overwhelming – a force of nature. Not once did she fail to rise to the oncoming climaxes, and sustained, in Strauss’s words, ‘the tremendous increase in musical tension to the very end.’ Dressed in raggedy black, she was huge, obsessive, mad and clearly of dreadful purpose...All the others were superb, if overshadowed by the extraordinary art of Ms. Graham.”
Philadelphia City Paper / March 6 – 11, 2004 / Lou Camp