Anna Noggle, as the governess who tries to save the children, was instantly lovable for her cheery innocence and riveting in her slow disintegration; vocally, her initially fine account became superb as the evening wore on.
-Steve Smith, The New York Times
Most notable was the Governess of Anna Noggle, about whom I've written in glowing terms before. Her singing was beautiful throughout, showing expressive range and color where appropriate, and she inhabited the character of the Governess quite effectively. From the innocent young girl full of doubts to the young woman who knows more than she wants to and becomes slightly unwound, Miss Noggle never disappointed. She and Mr. Leonard left the distinction between fact and fantasy, the boundary between sanity and insanity, deliberately unclear, for the audience to reason for themselves.
Soprano Anna Noggle, fetchingly attired in late 19th c. style, sang the role of the Governess with brilliant quality of tone and apt phrasing; her acting was flawless and scored high in believability.
-Meche Kroop, Voce di meche
the Governess was sung by Anna Noggle, a handsome woman with a sizable soprano and good dramatic instincts, who gave the evening a nicely progressive unease.
-John Yohalem, Parterre Box
Singing the role of the doomed courtesan, Violetta, soprano Anna Noggle presented a lovely stage presence and, in the third act, some truly innate theatrical sensibilities. She has an appealing voice, rich and creamy. Ms. Noggle was at her strongest in the extended monologue that opens Act 3, fully convincing in her depiction of a woman at the end of her tether, both physically and emotionally
-Telegram & Gazette, Jonathan Blumhofer
Soprano Anna Noggle turned in a stellar performance on the opening night of Opera Company of Middlebury’s production “La Rondine”. Magda is a fully dimensional character, and Noggle delivered her inner beauty as well as her vocal one. Noggle’s soprano is brilliant, yet warm when called upon, and she delivered Magda’s depth – and humor – effectively and beautifully.
- Jim Lowe, The Rutland Daily Herald June 2011
Anna Noggle as Magda is a heartbreaker. When we meet her in Act I she is all about bare shoulders in red velvet (think the young Jane Seymour in that iconic movie “Somewhere In Time”). Miss Noggle sings her first aria beautifully but then something more beautiful happens; her voice grows richer, more expressive, more emotional – and the singer meshes with the actress. She has a lovely warm and natural stage presence.
- Nancy Maxwell, Addison County Independent June 2011
The singing Forest Sprites – Nicolle Foland, Anna Noggle and Megan Marino – delivered their close harmonies with polish.”
- Marc Shulgold, Opera News February 2011
The three wood sprites, Nicolle Foland, Anna Noggle and Megan Marino were a delightful trio with flirtations with Vodnik and recapturing their playful nature with “Mám, zlaté vlásky Mám” (I have golden hair). Their voices are ideally matched to create the playful nature of the sprites, luring us under their spell.
- Michael Chip, Interchanging Idioms February 2011
Wood Sprites Nicolle Foland, Anna Noggle and Megan Marino would be the pride of any production of Wagner’s “Rheingold”.
- Wes Blomster, Boulder Daily Camera February 2011
Edgar Jaramillo and Anna Noggle (outdoing their performances at the gala) portrayed Rodolfo and Mimi with impressive passion, throwing themselves totally into their roles and using their respective voices to great advantage.
- Meche Kroop, The Opera Insider November 2010
Anna Noggle, also singing very creditably, offered an extremely detailed and moving Mimi; her big moments evoked tears.
-David Shengold, Opera Magazine (UK), November 2010
The character of Gilda was well delivered by soprano Anna Noggle, who we last saw a year ago as Liu in "Turandot." ….her "Caro Nome" was well done as she left the balcony, and her duets were touchingly delivered.
- Dan Sweeney, Worcester Telegram & Gazette October 2009
As Gilda, Anna Noggle presented a youthful and innocent character with convincing sincerity. In the famous aria "Caro Nome," her impressive singing was elegant and refined.
- John Murelle, Cape Cod Times, October 2009
Anna Noggle’s performance of “Der Hoelle Rache Kocht in Meinem Herzen” from “The Magic Flute” which, parenthetically, stood head and shoulders above the one that I heard at the Metropolitan last season….
- Fred Kirshnit, The New York Sun, September 2006
Anna Noggle as Liu captivated the audience with her renditions of the three arias, especially the “Tanto amore,” which precedes the “Tu che di gel,” exhibiting gloriously controlled high pianissimi and an exquisite tone….We have to watch for her name in the future!
- Charlie Handelman, The Handelmania Podcast, October 2008
Anna Noggle’s Liu was especially touching, and her singing was consistent and affecting.
- Judith Malafronte, Opera News, October 2008
The role of Liu, a slave who has remained loyal to Calaf’s father, the blind and exiled King
Timur because of her secret love for Calaf, was sensitively drawn and heartachingly sung by soprano Anna Noggle. She completely won over the audience with her poignant first and third act arias.
- Anna Crebo, Cape Cod Times, October 2008
Madame de Tourvel’s tricky high attacks reflect the young Fleming’s extraordinary abilities; Anna Noggle, a moving figure, handled them quite capably.
- David Shengold, Opera Magazine (UK), July 2008
Kudos, too, to soprano Anna Noggle, as Mme de Tourvel, whose descent into madness begins with the agitated lament "The veil is rent,"
- Bruce Michael Gelbert, QonStage, February 2008
Soprano, “Escenas campestres cubanas”RO 77 But whatever you call it, its rhythmic vitality will seduce you – as will the singing of Anna Noggle, who dances through her coloratura with exuberance.
- Peter J. Rabinowitz, Fanfare Magazine, January 2008
Included in the fun are some genuine fireworks (vocal this time) courtesy of Anna Noggle’s athletic soprano.
- Dan Morgan, Music Web International, June 2008