"All were outstanding, but Verdi’s favorite in this work is the soprano, who gets all the good parts after the final Dies Irae, often seeming to be arguing successfully with God. Schmeige has the power and clarity to soar effortlessly above the full orchestra and two of Maine’s best choirs."
-Christopher Hyde, Maine Classical Beat
"Soprano Rachele Schmiege possesses an ample, clarion instrument which easily soared over the orchestra and chorus...with lovely phrasing and emotional shading."
-Carla Maria Verdino-Süllwold, BroadwayWorld.com
"Soprano Rachele Schmiege and mezzo-soprano Rebecca Ringle were the most consistent of the four, with Schmiege bringing an illuminating, velvet tone to the soaring line of that revisited Requiem Aeternam."
-Allan Kozinn, Portland Press Herald
"Four soloists vocally depicted the biblical episodes. Soprano Rachele Schmiege - a Western Michigan University graduate and Vicksburg native - possesses an incredibly crystalline voice that she dazzlingly displayed in "Rejoice greatly" and especially "I know that my redeemer liveth." Her remarkable timbre and note clarity were stunning, as was the gleam of her upper tessitura."
-C.J. Gianakaris, Kalamazoo Gazette
"I give the most props to Rachele Schmiege singing Beth. Her breathtaking aria stole the show!"
-J. Jacob Krause, Boston Theater Review
"Rachele Schmiege was certainly the star of the evening... Her clean, silvery voice and her innate ability to interpret the music has not yet failed to enthrall me."
- Thomas Dyer, Berkshire Fine Arts
"Soprano Rachele Schmiege was a charming Miss Fairfax, of sweet disposition but not to be trifled with, innocent but not naïve, and ever attentive to the latest fashions. "
-Geoffrey Wieting, Boston Musical Intelligencer
"...everyone looked their parts. Neal Ferreira (Jack) and the dark-toned Rachele Schmiege (Gwendolyn) both sang impressively."
-David Shengold, Opera UK
"Soprano Rachele Schmiege never let Anne’s romantic sincerity get sloppy or lose fervor."
-Mark Swed, Los Angelas Times
"...Anne Trulove played by the talented soprano Rachele Schmiege... Cheney and Schmiege have excellent chemistry together, and that – along with their powerful, pure, soaring voices – makes for some of the best musical moments. "
-Humberto Capiro, lol-la.com
"Rachele Schmiege was a strong Anne who held her ground both vocally and histrionically. Her aria “No word from Tom” probably brought back memories to a great many audience members who have waited for silent phones to ring. "
-Maria Nockin, Opera Today
"But Schmiege out shown them all...The performance was absolutely thrilling. Her transformation from tarted-up lady of the night to sickly, bedridden pauper was something not to be missed."
- David King, Metroland
"Rachele Schmiege went a long way toward filling this gigantic task. On the lighter side vocally, she was able to sing “Ah forse e lui” with agility. In fact she convinced me, so skillful was she at this, that I might not see a deep connection with the rest of the role. I was wrong. The highlight of the production was the Violetta/elder Germont duet, where Ms. Schmiege seemed a completely different being. She was not afraid to sing softly, very softly. She sang a kind of control, not only of herself, but of the situation, and it was actually Germont who did the weeping. There was an absolute resolve in the beauty of her singing, not in the sound, which was ravishing, but in the line, which was determination. Every facet of the duet was made vivid."
-Keith Kibler, The Berkshire Review
"As the courtesan Violetta, soprano Rachele Schmiege’s voice was lustrous, agile, supple and soared... she and tenor Christopher Lucier, as her lover, Alfredo, saved the best for last. They had done well in their duets throughout the show, but his tenderness and desperation and her sorrow and fervent yearning in the final death scene were first-rate."
-Geraldine Freedman, The Daily Gazette