Zerlina in Mozart’s Don Giovanni,
Opera San José:
“Almost as much the seducer as the seduced, Susan Mello’s Zerlina was no wide-eyed innocent but an attractive and confident woman able to hold her own with Don Giovanni and easily gain the upper hand with her Masetto. The voice is full and mature sounding, which matched Mello’s interpretation well. She is also an accomplished actress, exhibiting Zerlina’s flirtatious, temperamental and ultimately loving nature with ease and charm.”
Le Concertographe

“Susan Mello… a polished and pert Zerlina.”
San Francisco Classical Voice

Amore in Monteverdi’s L’Incoronazione di Poppea,
Glimmerglass Opera:
“Amore, sung with character.”
“Susan Mello spunky as Amore.”
NY Times

Valencienne in Lehar’s The Merry Widow,
Whitewater & Sorg Opera Companies:
The Barons Wife, Valencienne, was given a nicely fleshed out personage in the hands of Susan Mello.”
Palladium

Barbarina in Mozart’s Le Nozze di Figaro,
Tulsa Opera:
“Susan Mello was an agreeably saucy Barbarina.”
Tulsa World

Soprano Soloist in Handel’s Messiah,
Tulsa Philharmonic Orchestra:
“Picking out individual performances is difficult, but one cannot overlook Rejoice greatly, O daughter of Zion, a dramatic and powerful bit of work by Mello.”
Tulsa World

Perichole in Offenbach’s La Perichole,
The College light Opera Company:
“Perichole belongs to the leading lady, and Susan Mello brought both an elegant stage presence and robust lyric soprano to the demanding part, winning a standing ovation for her performance from an appreciative audience.”
The Register

Casilda in Gilbert & Sullivan’s The Gondoliers,
The College Light Opera Company:
“Susan Mello is an elegant and expressive Casilda with a voice to match.”
“Mello’s looks and voice were a perfect match for this role. Her black hair and flashing eyes, her rich soprano voice and her fiery onstage presence combined to make hers an absolutely magnetic performance.”
The Register