• The Medium: Chelsea Opera
"Judith Skinner gave an astonishing portrayal: her powerful contralto gave her a
commanding presence, and her sense of pitch and phrasing remained confident
and sure as Baba's dissolve into madness led her into progressively more
dissonant and fragmented music. Skinner proved to be a fine actress as well,
one who did not shrink from the ever-increasing challenges of the role. This is
an exciting young singer."
                                                           Arlo McKinnon - Opera News

"Judith Skinner triumphs as Madame Flora. Her voice is that of a true, organ-like
contralto. With her, one cannot really talk of “chest voice” as her impressively
sensuous instrument is a miraculous extension of her speech. This power
translates well into the role of the over-bearing, maniacal Flora. Skinner is
absolutely terrifying in the murderous second act, a prolonged mad scene for
Madame Flora.......Skinner’s wild, unrestrained acting and singing. This wasn’t
gestural, vapid opera acting at its worst, but a visceral emanation of mortal fear
through bellowing chest tones and granite-tinged high notes."
Steven Jude Tietjen - Opera Pulse

  • Porgy & Bess: Dayton Opera
"Judith Skinner as a spunky Mariah to be reckoned with".
                                                           Eric Street - Dayton City Paper
  • Showboat: Utah Festival Opera
"Skinner shines as Queenie - in many aspects the woman who runs the show."
                                                           Barbara Stinson Lee - HJ News

"Major vocal and theatrical contributions came from Judith Skinner as Queenie."
                                          Robert Coleman - Special to The Tribune

  • Un Ballo in Maschera: Regina Opera
"I am VERY happy Judith Skinner accepted the opportunity to sing this powerful
part and bring the house down with a magnificent portrayal of this imposing
operatic personality. Ulrica’s lair showed her to be truly the witch in charge.
..........,” ''her truly magnificent mezzo almost contralto mesmerized us." ......... "In
the scherzo quintet and all the singing that included Ulrica, you could not help
being her subject and cult member just to hear that Niagara Falls natural wonder
of a voice. Her scenes with the disguised Riccardo were operatic confrontation
at its best. He was merely the (disguised) colonial Governor of Boston, while
she was the Queen of her domain and in effect the galvanizing force of his
destiny. Marian Anderson would be very happy to see such a glorious
performance. I am certain she was there in spirit. Judith Skinner was
truly a sorceress physically imposing and vocally sublime."
                                                    Nino Pantano - - - The Italian Voice

• The Crucible: Opera San Jose
'"Judith Skinner's scary Tituba, ............ did outstanding work."
                     Janos Gereben - - San Francisco Classical

"In her company debut, Judith Skinner may have stolen the show with her acting,
and an amazingly rich contralto, as Tituba.........."
                                                       Keith Kreitman - - Inside Bay Area

"...and contralto Judith Skinner made a superb company debut -- all chesty tone
and meaty, vigorous phrasing -- as Tituba....."
                                      Joshua Kosman - - San Francisco Chronicle

"Women of special note were ....... and the happily emotional Caribbean slave
woman Tituba (contralto Judith Skinner). Tituba, Ward's one miscalculation, is
distressingly similar to Verdi's Ulrica and Azucena"
                                       Paul Hertelendy - - Arts San

  • The Crucible: Indianapolis Opera
"The role of Tituba, the one black slave woman, was well-handled by Judith
Skinner another IO first timer."
                                                                    Tom Aldridge --
  • Cavalleria Rusticana: Cape Cod Opera
"Judith Skinner's Mama Lucia was equally powerful as she blended her contralto
voice..........a tour de force."
                                                        Libby Hughes --Cape Cod Today
  • The Medium: Bronx Opera
"Judith Skinner's electrifying  Madame Flora/Baba deserves an Academy Award.
Her portrayal of the phony clairvoyant who is driven to murder by voices in her
head must bear comparison with the greatest interpretations of the role"
Philip Anson -- La Scena Vocale

"This was a much securer production with better singers in general. Judith
Skinner made a flamboyant Baba.
                                            Bernard Holland -- The New York Times

"Judith Skinner sang superbly and acted powerfully as baba the medium,...."
                                                 Herbert Kupferberg -- New York Post

  • She Never Lost A Passenger: Opera Memphis
"At times even the children on stage were taken aback by the outpouring of
liquid gold pouring from the throats of Skinner...."
                                            Sharon E. Dobbins --Tri State Defender

  • Le Nozze de Figaro: Regina Opera
"Judith Skinner posses a magnificent contralto, giving us a Marcellina of
surprising originality and comic insights."
                                 Paulina Kent Dennis--The Brooklyn Spectator

  • The Mikado: Regina Opera
"Judith Skinner's magnificent contralto and extraordinary comic and dramatic
skills make for an auspicious and striking Katisha...... From her first entrance
amidst claps of thunder to her "Alive and Yet Alone" aria, one felt in the
presence of a rising star!
                                   Nino Pantano -- Boro Park Community News

"The highlights of the second act were the appearance of .....contralto Judith
Skinner, as Katisha....."Skinner, voluptuous in her kimono of red and gold,
contorted her face in anguish, glee, disappointment and wretchedness - all in
the space of a few minutes. Her compelling voice, combined with her wonderful
flair for physical comedy, made her the star of the second act. Even though her
character wishes the heroic Nanki-Poo harm, her keening and wailing....were
dramatic and genuine that the audience gave her a well deserved ovation"
                                                 Liz Walser -- The Brooklyn Spectator
© 2012