"The Queen of the Night, ferociously sung by Rainelle Krause, was a real firecracker, earning ovations from the beginning. In her revenge aria, she chiseled the coloratura into the room, tossing the highest notes like bullets into the sky, a magical moment of excellent vocal skill.”

"However, the true standouts of this production are found in Rainelle Krause as Queen of the Night and Andrea Carroll as Pamina. The Act II aria from the Queen of the Night is one of the most famous in history (according to this writer's opera fanatic friends). Krause sings this aria beautifully, and their voice soars. Sitting in the audience, one can feel the expert singing and emotions that Krause is portraying." 

"But Krause blazed through the Queen’s two arias with a brilliance, agility and precision that outshone even the video projections."

"Rainelle Krause makes a smashing company debut as her arachnid mother, earning the afternoon’s longest applause break for the octave-jumping famous aria “Der Hölle Rache.”

“Rainelle Krause sang the coloratura role with an accuracy and tenacity that I had yet to experience in live theatre, and do not expect to recreate anytime soon. There simply are not enough words to praise how Krause navigated the melismas and piercing high notes, with fantastic musicality and wickedly engaging acting, and after her aria in Act II, the audience clapped for a full thirty seconds.”

“And then there is the surprise. For it is Rainelle Krause who steals the scene as Oscar, in a trouser role... The American coloratura soprano Rainelle Krause's voice blares in the finest way through the big soundscape, and like her Queen of the Night in Barrie Kosky's MAGIC FLUTE in 2020, Krause steals the show when she arrives.”

“Her energy seems to concentrate on the famous aria of revenge in the second act, which she then actually delivers with great verve: an aria sung out of affect, which, despite all the noticeable anger, develops an enigmatic beauty - right through to the sparkling clean, curved coloratura.” (translated from German)

“The Queen of the Night, sung by Rainelle Krause, not only proved to be sure of stratospheric notes and coloratura, but also put a lot of cutting edge into her revenge aria." (translated from German)

“In Rainelle Krause's Queen of the Night, the coloratura is particularly impressive - the top tones are crystal clear.” (translated from German)

"The Queen of the Night, with the iconic aria "Der Hölle Rache," is sung by the American coloratura soprano Rainelle Krause. Krause. . . is therefore a sought-after artist in the field. . . the part of the Queen of the Night is enormously demanding, as she is only on for a short time, but in return has to deliver a colossal performance purely in terms of singing, it is clear that Opera Director Fulljames has chosen her for this reason. And Rainelle Krause certainly does not disappoint her audience, who also loved her at the premiere. Krause performed wonderfully and we got the coloratura exactly as it should be delivered. As she herself says: Talent is not enough - you have to stand out! - and it must be said that she does." (translated from Danish)

"Rainelle Krause as Tania creates such crystalline tones" 

"The female roles of the revolutionaries in "Al gran sole" demand from the sopranos the highest virtuosity in the highest possible tessitura over wide-ranging phrases. Rainelle Krause fascinates as a frightened, dying Tania Bunke"

"Rainelle Krause is a catalog of facets as she presents a diverse Pat Nixon, at once deferent and astute, aloof and canny, and ready for any role presented to her. Best of all is how Krause finds the hominess in Mrs. Nixon while honing in on her skillful intelligence."

"Soprano Rainelle Krause effectively looked the part of Pat Nixon, capturing an often worn and weary woman whose husband was the principal focus of her life. Krause sang in a consistently lyrical style, especially in her Act II soliloquy reflecting on her own good fortune.”

"For the sake of the opera, we see more human links than perhaps reality would have found between him and the weary Pat Nixon of Rainelle Krause. A certain unsteadiness of her large and well-focused soprano in the opening scene of Act II hinted at this insecurity, this false note, this wonder at finding herself, with her lack of pretension, in so aristocratic a situation, being gracious to peasants, pigs, small children, unable to restrain her sympathy for the peasant girl raped in a ballet. Hers is a voice of considerable lyric power."

"Yuk has also assembled the most vocally consistent cast I’ve heard at the Festival. . . Rainelle Krause brought a plangent lyric soprano to Pat Nixon; better yet, she provided a necessary sense of dignity whenever possible."

“Soprano Rainelle Krause impressed with her sure aim in the stratospheric reaches of both Queen of the Night arias”

“Crystalline-voiced coloratura Rainelle Krause was charming as mossy-toned Blondie”

“The best pure singer was soprano Rainelle Krause”

"Soprano Krause [soars] gorgeously in songs given to amours; the voice was pure, the intonation absolute. She was a pleasure to hear."