“Victoria Botero, as Adina, has in her tiny frame a voice that is the perfect sweet, light match for her Nemorino: in tone, timbre-in every quality the two voices fit superbly.”

“Victoria Botero was the slightly waspish Adina, using her tiny stature to good effect next to her male colleagues. Botero has a canary-esque coloratura soprano that proved clear and reliable, and her transformation from heartless flirt to true love was sweetly done.”

“Bubbly, petite soprano Victoria Botero as the fickle heroine, Adina, and brawny tenor Brian Thorsett as her rube suitor, Nemorino, lead a fine cast of talented singer-actors. They charm every bit of musicality from Donizetti’s melodious score.”

“Victoria Botero was attractive and tuneful as Yum-Yum the rather ditsy sweetheart. Botero’s “The Sun Whose Rays Are All Ablaze” was clear, beautiful and thrilling.”

“Botero’s considerable charisma was on display in the “The Fairy Queen.” Her charming turn as Titania was one of the highlights of the opera.  ”

“Victoria Botero sang Titania with virtuosity and bright presence.”

“Among the stand-out singers was Victoria Botero (Titania)….  Botero, looking resplendent in her emerald hue, commanded the coloratura passages and never once reduced pitch to shriek.  Her melismatic lines contained energy and her phrasing was natural.  ”

“Soprano Victoria Botero is splendid as his love interest, Mabel, and she deftly glides her way through the coloratura passages the score provides. ”

“Soprano Victoria Botero looked great and played the do-gooder Mabel in appropriately over-the-top manner.” ”

“Tiny Victoria Botero has a big soprano voice as Mabel.””

“Botero and Boldin [Frederic] enunciate clearly. Their voices merge with pleasing musical effect.”

“Botero anchors the cast as Conchita, seeming to bloom on stage in front of us. Conchita is a tricky role. In the wrong hands, she can come off as a toony temptress. Instead, Botero shows us a woman’s growing confidence in herself. Her experience with the lector (and Anna Karenina) doesn’t mold her into a different person so much as it unlocks rooms inside of her that were already there.  ”

“Victoria Botero is Conchita a neglected wife who yearns for loving connection. Botero gives convincing reason for her character’s break from cultural norms as she passionately seeks love that is far from traditional.”

“The Penis Monologues,” immediately suggests a response to Eve Ensler’s “The Vagina Monologues,” but what Van and Honig have created is unique. Soprano Victoria Sofia Botero opens the performance with a stunning version of Giacomelli’s castrato aria “Sposa non mi conosci. ”

“Botero is a musician with a lovely singing voice and a darn good actor. ”