Mrs. Mina Miller Edison in TESLA (SoBe Arts)

"Courtney Miller’s sizable and burnished mezzo strongly etched Mina Miller Edison’s interjections."

- Jean-François Lejeune, OPERA NEWS (January 28, 2017)



Olga in EUGENE ONEGIN (Florida Grand Opera)




"Courtney Miller’s Olga, Robynne Redmon’s Larina and the very tasteful Monsieur Triquet by Dominick Corbacio completed one of the best casts to be heard at FGO in many seasons."

- Lawrence Budmen, South Florida Classical Review (September 29, 2017)


"Not to be overlooked were the exquisite performances of Olga by Courtney Miller and Lensky by Martín Nusspaumer. Both singers displayed a magnanimous tonal range and physical presence. Ms. Miller with her blonde tresses and Mr. Nusspaumer with his epic sideburns were the very picture of 19th Century Russian Romanticism."

- George Magalois, The Sophia News (February 13, 2017)


"Courtney Miller, as Olga, had a charming, flirtatious stage presence, looked pretty and she deployed her light mezzo well."

- Palm Beach Arts Paper (February 1, 2017)

"Johnson and Courtney Miller as Olga displayed real chemistry. Miller’s attractive light mezzo and captivating stage presence was the perfect foil for Kuznetsova’s dramatic projection."

- Lawrence Budman, South Florida Classical Review (January 29, 2017)


“It is hard to know where to start with the leads. Olga must exhibit contrast to her sister. Courtney Miller has a smooth mezzo and with her subtly commanding presence providing the joie de vivre that is not often found in this opera.”

- Jeff Haller, Concerto Net (January 2017)


Mercédès in CARMEN (Florida Grand Opera)


"The two other females, Laura León (Frasquita) and Courntey Miller (Mercédès), demonstrated tremendous support. The card trio followed by “Quant au douanier ...” were exceptional."

- Jeff Haller, Concerto Net (November 2016)


"As Carmen’s fellow smugglers, Benjamin Taylor, Dominick Corbacio, Elena Galván and Courtney Miller sang with convincing pleasure in the details of their trade, as they plotted their way past the border guards."

- David Fleshler, South Florida Classic Review (November 13, 2016)


Cherubino in LE NOZZE DI FIGARO (Opera Saratoga) 


"Saratoga has long attracted gifted Young Artists. Courtney Miller, the Cherubino, looked endearingly gangly and sang with fluent musicality."
- David Shengold, OPERA NEWS (October 2016)


"This is not a four person production and indeed all the supporting performers are very good, especially Courtney Miller in the pants role of Cherubino, the young man in love with every woman he meets." 

- Bob Goepfert, The Saratogian (June 29, 2016)


"A special delight was Courtney Miller's convincing rendition of the lovestruck adolescent boy Cherubino, who after singing a poignantly comic aria about love seemed to be popping up everywhere, throwing himself out of a window and finally forced to dress up as a maid servant to confuse the Count."

- Priscilla McLean, Times Union (June 28, 2016)


in LITTLE WOMEN (Madison Opera) 


"Courtney Miller, who plays Meg, has ringing moments of assertiveness...excellent singing and acting throughout."

- John W. Baker, Isthmus (February 6, 2016)


Little Women

"Courtney Miller, a native of Middleton, makes her debut as Meg. Miller uses her bright, clear mezzo voice to articulate her budding love for John Brooke (sung nobly by Alexander Elliott) and to urge Jo to accept that it is time for her to make her own family."

- Gwen Rice, Cap Times (February 6, 2016) 


"Meg, was the winsome and confident Courtney Miller."

- Greg Hettsmanberger, WhatGregSays (February 6, 2016)


"The four Little Women themselves (Courtney Miller as Meg; Heather Johnson as Jo; Chelsea Morris Shephard as Beth; Jeni Houser as Amy), aided by sure-handed direction from Candace Evans, mustered warm, credible camaraderie and sisterly love....All displayed rich and even vocalism, with clear and precise English diction rendering the supertitles mostly superfluous.

- Mikko Utevsky, The Well Tempered Ear (Blog) (February 12, 2016)




Hannah in THE PASSENGER (Michigan Opera Theatre)

"The desperate, humanizing relationships of the other women in the barracks ground the opera’s realistic horror.  Gorbachyova’s Katja, youthful French Yvette (Angela Theis), doomed Hannah (Courtney Miller), forthright Vlasta (Kristin Eder), maternal Bronka (Liubov Sokolova), and kind, shaken Krystyna (Ashley Maria Bahri Kashat) were each devastating and sharply drawn, with total commitment and glorious voices worthy of top billing.

- Jennifer Goltz-Taylor, OPERA NEWS (November 14, 2015)


"The cast also includes Daveda Karanas as Liese, David Danholt as Walter...Courtney Miller as Hannah...with a handful of other talented singers, and a chorus who gave the performance of a lifetime, filling the stage with voices that created unforgettable artistic and musical impact for its audience."

- Samantha White, Macomb Daily (November 20, 2015)




Mrs. Ford in SIR JOHN IN LOVE (Odyssey Opera) 

Mrs Ford

"Sir John in Love, a touchingly melancholy its most emotionally piercing when Alice Ford [Courtney Miller] sings “Greensleeves."....From Oren Gradus as Falstaff, Courtney Miller as Alice Ford, Michael Chioldi as Ford, and Cindy Sadler as the robust Mistress Quickly, down to resonant septuagenarian Robert Honeysucker in the cameo role of the Host of the Garter Inn, there wasn’t a weak link in the cast."

- Lloyd Schwartz, New York Arts (July 2, 2015) 


"Seldom is opera in English so easy to follow. Or so much fun. Odyssey makes “Sir John” seem less like an opera than like an exquisitely acted play that happens to be sung....Courtney Miller as Mistress Ford and Mara Bonde as Mistress Page make an engaging pair of conspirators."

 - Jeffrey Gantz, Boston Globe (May 19, 2015)


"Fine singing also characterized the rest of the cast. Courtney Miller and Mara Bonde each brought feathery voices to the roles of Mrs. Ford and Mrs. Page respectively."

 - Aaron Keebaugh, Boston Classical Review (May 18, 2015)


Flora in LA TRAVIATA (Virginia Opera)

“While “Traviata” is notable for its focus on its three main characters, the supporting players are important as well, particularly the smaller roles of Flora Bervoix and Baron Douphol, Violetta’s once and future lover. Both were incisively played by Courtney Miller and André Chiang respectively.”

 - Terry Ponick, Communities Digital News (March 22, 2015)



Page in SALOME (Virginia Opera)


Herodias' page was sung by Courtney Miller. Often a pants role, this production updated her to a nattily dressed female personal assistant. She sang with a lovely mezzo timbre.”

 - B.J. Atkinson, The Virginian-Pilot (February 2, 2015)

Cousin Hebe



Cousin Hebe in HMS PINAFORE (Virginia Opera)


Courtney Miller’s brief vocal turn as Sir Joseph’s Cousin Hebe

was delightful.”

 - Terry Ponick, Communities Digital News (December 6, 2014)



Suzuki in MADAME BUTTERFLY (Glimmerglass Opera)

"Courtney Miller was the most impressive Suzuki this writer has heard in many years."

- John Paul Keeler, Columbia Greene Media (August 2014)


Sister Helen in DEAD MAN WALKING (Glimmerglass Opera, Justice Ruth Bader Ginsberg Concert)


"Courtney Miller brought to the stage a harrowing scene from Jake Heggie’s new opera, Dead Man Walking.  Miller’s performance as the nun who fights to win the condemned man’s soul for God had much dramatic presence, and her diction, not often so accomplished in young singers, made the language ring clear." 

- Susan Gailbraith, (July 25, 2014)


Mercédès in CARMEN (Virginia Opera)


Carmen’s friends, Mercedes (Courtney Miller) and Frasquita (Jeni Houser), deserve praise for their engaging comic tarot reading duet, the highlight of...Act III.”

 - Nicholas Heavens, (March 20, 2014)

Carmen Mercedes  

“As the gypsies Frasquita and Mercedes, the voices of soprano Jeni Houser and Mezzo Courtney Miller blended beautifully, and their acting was crisply effective.”

- M.D. Ridge, (March 21, 2014)


Dryade in ARIADNE AUF NAXOS (Virginia Opera)


“Amanda Opuszynski, Courtney Miller and Jessica Julin masterfully sang their roles as nymphs.”

- Gene Harris, The Richmond Times-Dispatch (February 24, 2014)


“Amanda Opuszynski, Courtney Miller and Jessica Julin are in fine voice, individually and collectively, as the trio of nymphs who hover around (and psychoanalyze) Ariadne.”

- Clarke Bustard, (February 23, 2014)


“...the trio of sprites—Amanda Opuszynski, Courtney Miller, and Jessica Julin—who float at her side in a watery scene, looking and acting like the Wagnerian Rhinemaidens they’re spoofing.”

- Terry Ponick, Communities Digital News (February 22, 2014)

“ The trio of nymphs — Amanda Opuszynski, Courtney Miller and Jessica Julin — was very good.”

- Robert Battey, The Washington Post (February 16, 2014)


“Their serious counterparts - Naiad, Dryad and Echo - were also well-played by Amanda Opuszynski, Courtney Miller and Jessica Julin.  They were particularly impressive in their first trio, in which their fast-moving lines had to interact with great precision - and they did.”

- Lee Teply,  The Virginian-Pilot (February 9, 2014)



Second Lady in THE MAGIC FLUTE (Virginia Opera)


“The Queen’s three “ladies” (Natalie Polito, Courtney Miller and Sarah Williams) together provided one of the best trios we’ve ever heard in a “Magic Flute” production. Applying just the right comic touch, they were a joy to hear and behold and served to keep the proceedings light and airy every time they threatened to get too serious.”

- Terry Ponick, The Washington Times (December 13, 2013)

"The supporting cast is unusually strong.  Natalie Polito, Courtney Miller and Sarah Williams, as the three ladies-in-waiting to the Queen, have great fun with their parts. "

Clarke Bustard, (November 23, 2013)



Meg Page in FALSTAFF (Virginia Opera)



“Soprano Elizabeth Caballero as Alice Ford and mezzo-soprano Courtney Miller as Meg Page tended to be seen sitting in a row sipping tea with contralto Ann McMahon Quintero’s Mistress Quickly.... Their timing was splendid and their conniving delicious.”

- Joan Reinthaler, The Washington Post (October 13, 2013)


“Merry Windsor Wives Alice Ford (soprano Elizabeth Caballero), Meg Page (mezzo-soprano Courtney Miller), and their neighbor and chief plotter Mistress Quickly (mezzo Ann McMahon Quintero)...Though these three roles are not huge, they’re nicely realized by three female vocalists who also possess an excellent sense of comic timing."

- Terry Ponick, The Washington Times (October 13, 2013)



Soloist with Chautauqua Symphony Orchestra 


"The shepherd sings to his lover across the river in Canteloube’s now famously wistful Chants d’Auvergne, performed last year in the CSO series, and reprised this year by Courtney Miller, a mezzo-soprano, with oboist Jan Eberle.  Miller is made for art songs, possessing a delicacy and diction very appealing, and the strength to bring it home."

- Anthony Bannon, Chautauquan Daily (July 16, 2012)

Alisa in LUCIA DI LAMMERMOOR (Chautauqua Opera)


"...mezzo-soprano Courtney Miller sang Lucia’s companion, Alisa.  ...Miller sang beautifully."

- Leah Harrison, CNYCafe Momus (July 10, 2012)




Concepción in L'HEURE ESPAGNOLE (The Boston Conservatory)


 "The role of Concepción is a marvelous piece of work, seemingly made to be sung by Courtney Miller, who was hilarious fanning herself while keeping three men on her seductive string as her husband was out regulating the municipal clocks."

- Susan Miron, Art Fuse (February 4, 2012)



Iolanthe in IOLANTHE (The University of Michigan Gilbert & Sullivan Society) Iolanthe_2.png


"...Courtney Miller in the title role was simply stunning. Beautiful voice, tall willowy frame, exceptional dramatic abilities, pretty looks – she had it all.  At each of the two performances I attended, Miss Miller’s ‘He loves…’ gave me chills.”

- Dan Florip, GASBAG  (Winter 2008)