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Opera Orlando 

Humperdinck Hansel and Gretel (2021) 

Robyn Rocklein’s evil cackle makes an entrance before she does - it’s an appropriately spine-tingling cackle, by the way, which obviously is a key component of playing the Witch. And she sings with flair while maintaining her nasty characterization.

Orlando Sentinel (Link)

Sarasota Festival of Vocal Arts 

Mascagni Cavalleria Rusticana (2019)

Opera Singer Randolph Locke said, “No one in the world could sing the role of Santuzza in Cavalleria Rusticana better than Robyn Rocklein.” Opera and Hollywood film composer Thomas Pasatieri repeated Locke’s statement for emphasis, "No one." 

The Observer (Link)

Key Chorale, Sarasota Ballet, and

Sarasota Orchestra  

Winter Dreams & Stella Natalis (2019)

Mezzo-soprano Robyn Rocklein sang as soloist at numerous points during the program with a consistently warm, inviting voice…the barren yet equally uplifting music of Ola Gjielo in his “Tundra,”the women’s voices and Rocklein as soloist sang with pleasing control and blend.

Sarasota Herald Tribune (Link)

Mount Desert Chorale and members of the Bangor Symphony

Mendelssohn Elijah (2018)

Had the remarkable Gordon Hawkins, who kept us on the edge of our pews throughout the evening, been the only soloist of note, it would have sufficed, but the others were equally impressive…Mezzo-soprano Robyn Rocklein, like Hawkins, made us feel as if were attending an opera, rather than a concert with her theatrical performance. Especially with her deliciously arch portrayal of the wicked Jezebel commanding Elijah to get the hell out of town and to take his priest-killing God with him.

Mount Desert Islander (Link)

Sarasota Orchestra 

Faure Pelléas et Mélisande Suite (2018)

The warm resonance of Robyn Rocklein’s mezzo voice embodied sorrow in Melisande’s Song, a mournful tale of dying light and hopelessness. Her silent response on stage in the final movement’s Death of Melisande was as poetic as the music ebbing to silence.

Sarasota Herald Tribune (Link)

Robyn Rocklein was the excellent soprano soloist in “Mélisande’s Song,” and her clean, clear sound never wavered in her portrayal of her hopeless love for Pelléas.

The Observer  (Link)

Sarasota Orchestra and

Choral Artists of Sarasota

Verdi Requiem (2017)

The drama is encoded in the music, but augmented by soloists who know full well how to use their stage presence as well as their voice. Rocklein, who sang with glorious luster in every moment, employed her gaze and facial expressions to create the strongest connection. She confidently sang of the final judgment and then crumbled to a poor soul with “What can a wretch like me say?” 

Sarasota Herald Tribune (Link)

Both soprano Talamantes and mezzo Rocklein were up to the task, commanding in all their solos and ensembles…Rocklein was quite impressive throughout…these are two fine singers. 

The Observer (Link)

Opera Tampa 

Massenet Cinderella (2017)

Stepsisters Clorinda and Tisbe, played with clownlike agility by soprano Johanna Fincher and mezzo-soprano Robyn Rocklein, and her father Don Magnifico, whose hilarious portrayal by bass-baritone Adelmo Guidarelli completes this trashy triumvirate. 

Tampa Bay Times (Link)

Opera Tampa

Gounod Romeo and Juliet (2017)

Opera Tampa’s take on Gounod shines brightest, however, when bass-baritone David Cushing and Sarasota’s Robyn Rocklein are onstage. Their facial expressions alone lend levity to a heavy narrative. 

Creative Loafing Tampa (Link)

Choral Artists of Sarasota 

Patriotic Spectacular (2016)

“America, the Beautiful” was simply beautiful in Carmen Dragon’s timeless arrangement, and Robyn Rocklein, who seems comfortable and full-throated in every register from contralto to high soprano, did more than justice to Healey’s arrangement of Berlin’s “God Bless America.”

The Observer (Link)

Venice Symphony Orchestra

Love is in the Air (2016) 

Mezzo soprano Robyn Rocklein was "in a black dress as striking as her voice.”  

Venice Gondolier Sun  (Link)

Orlando Opera 

La Tragedie de Carmen (2014)

As the title character, Robyn Rocklein is winningly devilish, flirting with Don Jose, then discarding him cavalierly when her fancy turns elsewhere. She's the sort of woman who lights a cigarette just to blow smoke in the face of a a strong performance, Rocklein gets a richness of tone in Carmen's arias. 

Orlando Sentinel (Link)

Sarasota Choral Society

Handel Messiah (Dec 2013) 

Soprano Robyn Rocklein sang her "Rejoice greatly" in a spirited tempo maintaining placement and control of all the runs, as well as a beautiful tone throughout. 

​Sarasota Herald Tribune  (Link)

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