“Alison Bolshoi was a fierce and convincing Azucena who won the rebels fighting with Manrico to her side when she told of the horrors of death by fire (“Stride la Vampa”) and later movingly reported how she inadvertently killed her own child in a fit of blind passion. Bolshoi found drama in everything she did, her motions showing what her confessions and pleadings cost her, her voice signifying the pain, horror, defiance, or pleading for her living son as she delivered some of Verdi’s most expressive music, possibly the flashiest in any opera for a mezzo.” – Neal Zoren, US1, Princeton’s Business & Entertainment Journal, March 2025

“The role of Azucena, called by Verdi a “strange and novel character,” elicits both derision and empathy from audiences, and the vocal requirements are more extreme than ornate. Contralto Alison Bolshoi has a history with Boheme Opera of disappearing into roles to create riveting characters onstage, and her portrayal of Azucena was no exception. Walking with a cane and showing utter defeat from life’s trials, Bolshoi smoothly maneuvered the wide melodic range, singing a haunting duet with Manrico while communicating her harrowing story.” – Nancy Plum, Town Topics, Princeton, NJ, March 2025

“Bolshoi was that rarity on American since Jean Madeira’s heyday: a contralto Carmen. Powerful but evidencing dynamic finesse and fine legato, her full, striking instrument might better suit Dalilah or Ulrica; but – a handsome figure with an enigmatic smile – she proved compelling.”  – David Shengold, Opera News, May 2024

“There’s fire and proud naughtiness in Alison Bolshoi’s Carmen … Bolshoi, who has obvious gifts as an actress, gets to show her range … Bolshoi, in particular, emphasized the poetry of Ludovic Halévy and Henri Meilhac’s image-laden libretto and the zest, energy, melody of Georges Bizet’s rousing, evocative score.”  – Neal Zoren, US1, Princeton’s Business & Entertainment Journal, April 2024

“Boheme Opera’s choice to cast the role with contralto Alison Bolshoi brought out the seductiveness of the role, and she clearly had no problems with the lower register of the part. Bolshoi sang Carmen’s signature “Habanera” with sultriness in a brisk tempo. She presented a towering figure onstage, flirting saucily with the men around her. Bolshoi presented the folk-like “Seguidilla” with a rich vocal tone, with the coyness of what is actually an old Castilian folk song.” – Nancy Plum, Town Topics, Princeton, NJ, April 2024

“Brangäne, Isolde’s maid, was performed by Alison Bolshoi. She has an exciting and even, big booming voice from top to bottom. The lower notes of her contralto voice are absolutely gorgeous. Her singing of Brangäne’s watch, in Act II, was outstanding.”  – Voce di Meche, December 2018

“In the other glamour role – as Phillips’ second wife, Debbie – Alison Bolshoi unfurled a plush and lovely dramatic mezzo soprano tone.” – James R. Oestreich, The New York Times, March 2015

“Alison Bolshoi is excellent as Bum’s second wife, Debbie, singing an aria about Bum’s retirement that is as refreshing as the glass of sweet tea she downs at the close of the song.” -Zachary Stewart, Theater Mania, March 2014

“Charming, too, is a love song sung to Bum by Debbie, his second wife, played by Alison Bolshoi.  She manages to sing the words “Bum… Bum…” quite movingly, and when she ropes him with a lariat it looks sweet rather than silly.  A wonderful performer, Bolshoi is onstage far too little.” – Stage Buddy.com, March 2014.

“Alison Bolshoi … confirmed all our expectations of a professional and experienced performer.  Her self-confident entry after the opening of the bass orchestra’s introduction reverberated in forté, in a beautiful natural color of voice, which softened in lower notes to a velveteen shade.  Ms. Bolshoi reached charming harmony with the oboe solo in Un Ballo in Maschera.  [She] also pleased the audience by her dramatization and convincing expression in the difficult passage, and was amazingly impressive in a contrasting discourse with the oboe … and her concept of the acting was excellent. Her outstanding [singing] surpassed the bass and baritone with the highest forcibility.” – Rafael Brom, Hubední Rozledy, September 2008 [Musical Views Magazine, Prague]

“On stage there were the master craftsmen, such as Alison Bolshoi, who showed off a magnificent, large and complex voice and a stately grasp of emotional delivery.” – Willa J. Conrad, Star Ledger, NJ, Wednesday, June 14, 2008

“Alison Bolshoi[‘s] … singing from Wagner’s Flying Dutchman was on the level of Rysanek, and her acting skill was quite apparent. Like Rysanek, Bolshoi seems a perfect voice for Verdi. This American artist bears watching.” – John Paul Keeter, The Register-Star, August 2008