REVIEWS
Sieglinde | Die Walküre
"The Sieglinde of Lee Abrahmsen was both lustrous and powerful. Abrahmsen should consider Brünnhilde.” Opera Magazine | April 2023 |Michael Shmith
As Sieglinde, Lee Abrahmsen is astounding." Bachtrack | March 2023| Sandra Bowdler
"Lee Abrahmsen was, once again, the fervent and passionate Sieglinde.The more Abrahmsen sang, the more I wished it was Brünnhilde she had been singing!" Seen and Heard International | March 2023 |Jim Pritchard
Eva | Die Meistersinger
"Lee Abrahmsen, as Eva, adds another substantial Wagner role to her already admirable repertoire. Her voice coped easily and effortlessly with the vocal range, and she brought in as much sunlight as streamed through the east window."
Opera Magazine |Michael Shmith |Feb 2025
"Lee Abrahmsen, so impressive as Sieglinde, was equally wonderful as Eva, unleashing torrents of gleaming soprano sound. Why is she not better known to Australian audiences? Even in the largest ensembles she soared over the rest, and acted convincingly, with warm interactions with both Walther and Sachs." Bachtrack |Mar 2025 | Sandra Bowdler
Brünnhilde | Siegfried
“Brünnhilde, Lee Abrahmsen, was, in appearance and voice, a Valkyrie to the hilt, projecting her rich and gleaming voice like a silver spear right to the back of the hall." Michael Shmith | Opera Magazine | Sep 2022
“Always notable for the beautiful delicacy of her voice, Abrahmsen dug deep to reveal the powerful, steely potential of her soprano.” Patricia Maunder | Limelight Magazine |Sep 2022
“Lee Abrahmsen sang gloriously. She has been blessed with uncommon vocal amplitude – her voice just seemed to pour out in resonant splendour.” Heather Leviston | Classic Melbourne |2022
Isolde | Tristan und Isolde
"Abrahmsen was a revelation." The Age|Bridget Davies | Feb 2018
"A career-defining performance."Herald Sun|Paul Selar | Feb 2018
"Abrahmsen’s work as Isolde represents nothing less than a quantum leap in her status as a leading lady." Man in Chair |Simon Parris |Feb 2018 "Lee Abrahmsen was particularly impressive for someone who has not sung the role before, and delivered an almost perfect vocal performance and to act well into the bargain! In my view, she was better than Petra Lange as Isolde in last year’s Tristan und Isolde in Bayreuth—much more secure and rounded in the top of her range." Terence Watson | The Wagner Society |Feb 2018
"A career-defining performance."Herald Sun|Paul Selar | Feb 2018
"Abrahmsen’s work as Isolde represents nothing less than a quantum leap in her status as a leading lady." Man in Chair |Simon Parris |Feb 2018 "Lee Abrahmsen was particularly impressive for someone who has not sung the role before, and delivered an almost perfect vocal performance and to act well into the bargain! In my view, she was better than Petra Lange as Isolde in last year’s Tristan und Isolde in Bayreuth—much more secure and rounded in the top of her range." Terence Watson | The Wagner Society |Feb 2018
Marschallin | Der Rosenkavalier
"Abrahmsen is a majestic presence as the Marschallin…her soprano is powerful, with lush tone." Limelight Magazine|Patricia Maunder | Aug 2018
"With her richly coloured soprano, Lee Abrahmsen was a resplendent Marschallin. She perfectly captured both her regality and bittersweet vulnerability." The Age |Aug 2018 "As the Marschallin, soprano Lee Abrahmsen is superb in the role. She sings the long Richard Strauss phrases with a clear, spinning vibrancy. Her acting too is excellent." Heather Leviston |Aug 2018
"With her richly coloured soprano, Lee Abrahmsen was a resplendent Marschallin. She perfectly captured both her regality and bittersweet vulnerability." The Age |Aug 2018 "As the Marschallin, soprano Lee Abrahmsen is superb in the role. She sings the long Richard Strauss phrases with a clear, spinning vibrancy. Her acting too is excellent." Heather Leviston |Aug 2018
Senta | Der Fliegender Holländer
“Lee Abrahmsen, who just seems to get better and better, is thrilling. She produces a huge sound with no loss of sweetness, delicacy, or control, and she never sounds forced.” Australian Book Review | Barney Zwartz | Feb 4, 2019
"Melbourne’s favourite soprano Lee Abrahmsen outdoes herself yet again in the leading role of Senta. Looking every bit the angelic daughter, Abrahmsen sings with delicious abandon, soaring into lush, full bodied high notes with unbridled confidence." Simon Parris |Feb 2019
Donna Anna | Don Giovanni
"Celebrated prima donna Lee Abrahmsen elevates the key role Donna Anna with her reliably lustrous and full bodied soprano, which rings out with gleaming power in vocal ensembles. Just before the dramatic final scene, Abrahmsen delivers a gorgeous rendition of “Non mi dir,." Simon Parris | April 2026
"Lee Abrahmsen was impressive in one of Mozart’s most vocally demanding roles. Her soprano voice was consistently pure and beautifully resonant, rising gloriously as the upper voice in the ensembles, and triggering goose bumps at one point for this listener. She sang her Act 1 vengeance-urging aria with strong line and dynamism." Heather Leviston |Classic Melbourne | 2026
Elisabeth |Tannhäuser
"..sweet sonorous soprano Lee Abrahmsen, full voiced and joyfully proclaiming: “Dich, teure Halle”. She sang facing the audience directly, with a confidence that captured all. While every singer sang well, it was the voice of Abrahmsen, whose deep emotive sparkle constantly reaching great heights, was the highlight of the evening." Bachtrack |August 2016
"When a golden Lee Abrahmsen made her first appearance to sing one of the most rapturously joyful arias of them all, “Dich, teure Halle “, the scene could not have been set more appropriately. Of course, Abrahmsen’s lyric soprano has sufficient power to fill a much less sympathetic auditorium and this abundance coupled with beauty of tone and a radiant presence was enough to inspire yet more applause." Classic Melbourne |Aug 2016