Mrs. Lovett: Sweeney Todd (Roanoke Opera) - 2015
"Artistic Director Scott Williamson has assembled a terrific cast — no small feat given the high level of artistry, both dramatic and vocal, demanded of its nine principals. Hugh Wheeler’s book for the show — the genius of which needs trumpeting when so much attention is given to Sondheim, the work’s brilliant composer and lyricist — pairs characters much as works by Shakespeare or Mozart do, and aptly casting voices in the acting parts can be challenging, especially when the show is mounted as an opera.
Opera Roanoke’s roster has captured, occasionally in striking and original ways, a bang-on balance (as the Brits might say) between the laughs and shivers each singing actor must elicit from the audience.
For many, the theatrical heart of the show is Mrs. Lovett. Mezzo-soprano Teresa Buchholz navigated the challenging shifts between cockney patter and operatic line with both vocal and physical elan, proving once again that the role embraces all of the story’s insane juxtapositions."
Gordon Marsh, Roanoke Times
Featured soloist: Goethe and Music: the German Lied, (Bard Music Festival, Schubert and His World) - 2014
"The performances by Sari Gruber, soprano, Teresa Buchholz, mezzo-soprano; Scott Williamson, tenor, Andrew Garland, baritone, accompanied by Judith Gordon, and Sarah Rothenberg were consistently excellent."
Michael Miller, New York Arts
Brahms' Alto Rhapsody, (Bard Music Festival, Schubert and His World) - 2014
"The high points were Schubert’s setting of Goethe’s philosophical poem “Gesang der Geister über den Wassern” and Brahms’ Alto Rhapsody...
Teresa Buchholz sang the Alto Rhapsody to a piano accompaniment with intelligence and musicality."
Michael Miller, New York Arts
Handel’s Messiah, (Distinguished Concerts International New York) -2013
Mezzo-soprano Teresa Buchholz’s delivered a most moving rendition of “He was despised” – her voice is beautiful in all parts of her register. I especially loved the plummy low notes.
Harry Saltzman, New York Concert Review
Mezzo-soprano soloist in Elliott Carter's "Voyage" (American Symphony Orchestra) - 2013
“Voyage,” based on Hart Crane, benefited from the mezzo-soprano Teresa Buchholz’s luscious tone."
Steve Smith, New York Times
Mezzo-soprano soloist, Das Lied von der Erde (Gateway Chamber Orchestra) - 2013
"Buchholz was the concert’s big discovery. All evening, she sang with a feathery-soft voice that was gauzy in its middle register and luminous at the top – she often ended phrases with a glistening little vocal quiver that was truly a delight to hear. She brought an affecting sincerity to such solos as “The Lonely One in Autumn” and “Of Beauty.” In “The Farewell,” she all but stopped time, singing with heart-rending lyricism and ending with the most delicately soft (yet audible) sound imaginable."
John Pitcher, Arts Nash
Mezzo-soprano soloist, Chausson's "Chanson Perpétuelle" (Bard Festival Recital) - 2012
"In a Sunday afternoon program devoted to works by members of the Société Nationale de Musique, which Saint-Saëns helped to found to promote the notion of “Ars Gallica,” a piano quintet he wrote at 20 held up among songs by Duparc, lovingly performed by the tenor Paul Appleby and the pianist Lucille Chung, and Ernest Chausson’s splendid “Chanson Perpétuelle,” sung gorgeously by the mezzo-soprano Teresa Buchholz, with Ms. Chung and a string quartet."
New York Times
"The next afternoon, "Ars Gallica and French National Sentiment" brought mezzo Teresa Buchholz and tenor Paul Appleby, among others, to Olin to explore the musical legacy of the Societe National de Musique, which Saint-Saens cofounded in 1871 as a response to the Franco-Prussian War.... Buchholz, her mezzo affecting and well-produced....
Mezzo-soprano soloist, Beethoven Ninth Symphony - 2012
"The dynamics of the performers on the “Joy” movement were especially compelling. On most recorded performances, one hears choirs made up of mostly mature voices. Beethoven's Schiller poem is one of the first great messages of the enlightenment. And to recieve that message that recent night at the arts center, with a wonderful orchestra, a stunning professional quartet."
Featured soloist, "Opera - Maria and Draco” (BAM) – 2011
“While I grew up listening to the synthesized female vocals on Final Fantasy VI, mezzo-soprano Teresa Buchholz's commanding and clear voice was a very welcome addition to the piece."
Square Enix Music On Line
Soloist, Bach's Mass in B Minor (Greenwich Choral Society) – 2010
“In the duet "Christ Have Mercy Upon Us," soaring soprano Kathryn Lewek and the fine alto Teresa Buchholz sang movingly against the string section, interplaying with the chorus. Both beautiful to behold, as well as to hear, the singers were a visual and vocal joy.”
“The Gloria opened in triple meter, an affirmation and ode to heaven, then the mood saddened, the sopranos entering gently, with a return to a profoundly joyful passage. Miss Buchholz’s solo was affecting.”
Serena, I Gioielli della Madonna (Teatro Grattacielo) – 2010
“Megan Monaghan, Michelle Jennings (sopranos) and Teresa Buchholz (mezzo) sang with sparkling zest as Stella, Concetta and Serena.”
Nino Pantino – The Italian Tribune
Dorabella, Cosi fan tutte (Duke Symphony Orchestra) – 2010
“With a firm lower range, mezzo-soprano Teresa Buchholz's distinctive and pleasing tone interwove especially well in duets with Opsina.”
William Thomas Walker – Classical Voice of North Carolina
Soloist, Prokofiev Concert (Bard Music Festival) – 2008
“A Sunday afternoon program, “Formalism: Challenge and Response,” offered excerpts from Prokofiev’s most blatantly patriotic operas, “Semyon Kotko” (1939) and “The Story of a Real Man” (1947-48). Teresa Buchholz, a mezzo-soprano, and Scott Williamson, a tenor, offered spirited accounts.....”
Steve Smith – The New York Times
Carmen, Carmen (Washington - Summer Opera Theater Company) – 2008
“Mezzo Teresa Buchholz was an outstanding Carmen, singing accurately and expressively while charging her character with a smoldering sexuality.”
T. L. Ponick – The Washington Times