Stauss, Ariadne auf Naxos, Virginia Opera

“Christina Pier brought to the title role a big, bright voice and technical precision, along with considerable sensitivity; ‘Es gibt ein Reich’ emerged with a quite a gleaming tone.  The soprano embraced the spirit of things, especially when she kicked up her heels as she headed off with her god.” Opera News


“Pier, as the grief-stricken Ariadne, displayed a strong, clear soprano and beautiful nuanced phrasing.” – Richmond-Times Dispatch

“Christina Pier, in the title role, was vocally firm, rich throughout her range – a true Strauss soprano.” – Washington Post


Mozart, Don Giovanni, Santa Fe Opera

“Christina Pier unleashed a big, gleaming soprano and impressive coloratura in Donna Anna’s `Non mi dir’: she is a young singer with great potential.” – Opera News


“The company scored with young Christina Pier, who dispatched Anna’s fearsomely difficult music with remarkable technical evenness and unforced yet ample tonal beauty, acing both arias.”
 – David Shengold, Gay City News


“Christina Pier, as Donna Anna, was sexy and strong.” – Jerod Peitsmeyer, The LA Monitor


Mozart, Don Giovanni, Nashville Opera

“Christina Pier’s Donna Anna made an impression with her gracefully floated, ascending phrases in “Protegga il giusto cielo,” and a glance over Ottavio’s shoulder after “Or sai chi l’onore” that painfully belied her indignation.” – Mark Thomas Ketterson, Opera News


Mozart, Don Giovanni, Eugene Opera

“Christina Pier as Donna Anna had a magnificent plush, open voice with golden high notes. With her superb musicality, she is a singer to watch.” – Marilyn Farwell, The Register-Guard


Gounod, Faust, Eugene Opera

“Christina Pier as Marguerite sang as beautifully as she did in last year’s ‘Don Giovanni.’ Her voice has a warm, velvet sound, and a superb range, which made her the most impressive singer of the night. The spinning wheel song was a marvel of both restraint and opulence.” – Register-Guard


Bizet, Carmen, Princeton Festival

“The vocal standout is Christina Pier as Micaela….[H]er pure lyric soprano peals out beautifully in Micaela’s duet with Jose. Pier earned an ovation for her strong account of the aria in the third act.” – Courier Post


Metropolitan Opera National Council Award Audition Finals, 2003

“Given my way, I would have subdivided the big winners. Maybe a prize for sheer musicianship, to be won, I think, by Christina Pier and Michael Maniaci. Ms. Pier’s unforced musicality in Mozart’s “Non mi dir” from Don Giovanni and her confident negotiation of its coloratura and phrasing intricacies came with a soprano of sufficient size that will broaden and darken with time. After intermission her “Euch Lüften” from Wagner’s Lohengrin took on the equally difficult task of simplicity.” – Bernard Holland, New York Times


Mozart Arias, Greensboro Symphony Orchestra

“Soprano Christina Pier, the most recent winner of the Charles A. Lynam Vocal Competition at UNCG, joined the orchestra for the singing of two selections from Figaro. In the aria “Porgi, amor,”…Pier was simply superb. She effortlessly spun out long lines with gorgeous vocal timbre that caught the emotion of a wounded woman wonderfully. The aria “Dove sono” was preceded by the accompanying recitative and allowed for a more vigorous and angry response to the Countess’ situation. Here Pier breathed fire. What a delight to hear such magnificent singing — intonation was right on, diction perfect, and Sitkovetsky made sure the orchestra was with the dynamic singer every step of the way. – Timothy H. Lindeman Classical Voice of North Carolina


Sarasota Opera Artist Concert

“The concert began with an outstanding selection: the “Song to the Moon” from Dvorak’s lovely opera “Rusalka,” sung with poignant and nearly effortless skill by Christina Pier.” – Richard Storm, Herald Tribune


Vaughan Williams, Dona Nobis Pacem, Florida Orchestra

“In the cantata, which sets three Walt Whitman poems, soprano soloist Christina Pier was a ravishing presence, floating above the tumult with her singing of the Angus Dei and especially its final plea: Dona Nobis Pacem (Grant us peace), repeated throughout the five-part work. ” Tampa Bay Times Mahler 4, North Carolina Symphony: “Soprano Christina Pier joined the ensemble for the finale, which is a delight of melody and orchestral color. Pier’s rich voice beautifully projected the text with clear diction, and her expressive singing soared. – Timothy H. Lindeman, Classical Voice North Carolina