July 2015

Erin Neffas a hopped-up, hormonal schoolboy were among the cast’s other standouts.

– Joshua Kosman July 2015


July 2015,

‘San Francisco Opera Choristers Virginia Pluth and Erin Neff were the bridesmaids for the Marriage of Figaro and Susanna, demonstrating that members of the opera chorus, led by Ian Robertson, can and do perform solo roles with distinction.’

Opera Warhorses


January 2015

Among individual musician performances, mezzo Erin Neff and pianist Natal’ya Feygina were outstanding in the Kurt Weill score for the pas de deux of Christopher Wheeldon‘s “There Where She Loved”

Janos Gereben, SF Examiner, January 23rd 2015


“Mezzo-soprano Erin Neff was a vibrant Octavia, all spurned grandeur and wounded nobility….”

– Joshua Kosman, San Francisco Chronicle, February 4th, 2013


Review from the Huffington Post of Installation at Culver Center for the Arts “Tahquitz”

Tahquitz, composed of several disparate devices (machines, projections, objects, photographs, documents, sound), dissolved into its expansive host space, leaving a sum of parts more than a cohesive environment. But each part was captivating in and of itself, and as each was taken in – the storytelling, the linguistic breakdown, the evocative object hung from the ceiling, the sound of soprano (and collaborator) Erin Neff singing her composition based on Cahuilla cantillation – the mind put together a conceptual whole.”


The Great Gatsby

“The Valley of Ashes marital disaster was brilliantly sung by mezzo-soprano Erin Neff as Myrtle and the Caliban-like Bojan Knezevic as George. Their scenes were the few that provided opportunities for passion at a true operatic intensity, and they played them to the hilt.”

-Jeff Dunn, SFCV

The Great Gatsby full review

‘Mezzo soprano Erin Neff gave Myrtle an agreeably hard, vibrant edge’

-Georgia Rowe, San Jose Mercury News

‘….Erin Neff a vibrant Myrtle’

– Joshua Kosman, San Francisco Chronicle

‘mezzo Erin Neff gave a powerful, dramatic performance as the unhappy  Myrtle Wilson..(her) scenes had so much raw emotion that (she)  did not seem like  a secondary characters.’

-Axel Feldheim,

The Great Gatsby full review from the San Jose Mercury News

The Great Gatsby full review from the San Francisco Chronicle


click here to read about Tahquitz in the Press-Enterprise


The Great Gatsby,  2011

“Erin Neff concentrated her vocal talent on a superb characterization of Myrtle in Act 2, Scene 4, from Harbison’s opera The Great Gatsby…so fervently sung,  Neff’s gestures, facial expression, and fine voice effectively portrayed Myrtle’s longing for her lover.”

Jeff Dunn, SFCV

Faust, Festival Opera

“Erin Neff’s spirited Siébel was a vital part of the ensemble…”

Janos Gereben, SFCV, August 2009

La Traviata, Sacramento Opera

“The supporting roles were also well performed in this production, with the strongest, mezzo-soprano Erin Neff as Flora”

Wozzeck, Ensemble Parallele

“….not skimping on the casting…Erin Neff a strong Margret.

Jason Victor Serinus,  San Francisco Classical Voice

The Dawn Makers:

“Filling out the fine cast….  mezzo-soprano Erin Neff as the Kiki, the Valley Girl filly who pulls Gloria’s celestial chariot.”

Joshua Kosman, San Francisco Chronicle

“Erin Neff, cast as a teenage horses replete with Valley Girl–speak…uncannily believable and plucky acting was a highlight of the evening.”

Thomas Busse, SFCV

La Cenerentola:

“Erin Neff may have run away with the production. She was adorably comic as Tisbe and [has] a lovely warm mezzo voice.”

San Francisco Classical Voice

Il Barbiere di Siviglia:

“Neff sang with richness of timbre and elegance of interpretation in Rossini’s “The Barber of Seville,”

Keith Kreitman, Contributor, Inside Bay Area

Cosi fan tutte, Berkeley Opera

“Mezzo Erin Neff displayed a flair for physical comedy, rendering Dorabella’s tongue-twisting arias with verve and skill.”

San Francisco Classical Voice

Le nozze di Figaro:

“Her voice rings with a subtle delicacy and clarity in the trouser role as the lovesick page Cherubino.  Neff poignantly renders her love songs, leavening the opera with innocent airs and the hopes and idealism of teen love.”

Tod Rasmussen, The Reporter

“Erin Neff, adept at comedy, is also a captivating singer…’Voi che sapete’ is especially touching and funny.”

Marilyn Mantay, Daily Republic Correspondent

Le Petite Messe Solennelle

“Mezzo-soprano Erin Neff…exceptional caliber…Agnus Dei featuring splendid alto singing.”

C J. Gianakaris, The Grand Rapids Press

Powerful voices bring Janacek’s Gypsy drama to life Alban Berg ‘Sieben Fruher Lieder’

“…striking, powerful voice in Erin Neff…Neff sang of a Gypsy’s life being ‘moved along and hunted off.’  Her throaty mezzo-soprano voice was perfect, tinged with a bit of mischievousness, to seduce the farm boy.”

Alban Berg ‘Sieben Fruher Lieder

‘”With poised radiance and an immediate ability to gather her listeners from concert hall chair to a musical portal of cathedral and watercolor, mezzo soprano Erin Neff climbed inward along the melodic lines of “Sieben Fruhe Lieder” (Alban Berg) and taught her listeners, luxury.”

Pacifica Tribune