Die fliegende Holländer (Madion Opera)
As Senta, the Norwegian maiden who would save him, an appropriately Norwegian soprano, Turid Karlsen sang with strength, purity of sound, and emotional commitment.

Il Trovatore (Orlando Opera)
« Turid Karlsen's Leonora was a lesson in breath management, spinning out long lines in beautifully shaped phrases. Her delivery of the high-lying piano notes in the cadenza at the end of the cavatina "D'amor, sull'ali rosee" was
masterful and earned a well-deserved ovation.»

Canadian Music Festival (Victoria)
« Karlsen opened the concert with a familiar indulgence for opera lovers, Ludvig Van Beethoven's aria Ah! Perfido. Karlsen did well to balance the sweetness of her voice (especially in the higher ranges -- she soars!) with the storyline of a woman scorned through passionate and confident singing.

It was lively warm-up to the Strauss, in which Karlsen sang the rich and meditative works with depth and goosebump-worthy dynamics. »

Canadian Music Festival (Victoria)
« The impressive Karlsen was delicate, light and girlish one moment, and the next, suddenly showing off her great speed and vigour in the high register »

Tristan und Isolde, Bielefeld
« Die Isolde wurde von Turid Karlsen von Anfang bis Ende, der Rolle entsprechend, in ihre Ausbrüchem mit großem Stimmvolume, sowie auch in den feinen Zügen dargestellt. Nicht jeder Rollendebütant kann auf Anhieb eine so ausgefeilte Darstellund anbieten! »

TRISTAN UND ISOLDE (Opera Bielefeld)

«Abheben mit Wagner
Tristan und Isolde am Bielefelder Stadttheater gefeiert (...)

Rollendebüt von Turid Karlsen
Vokal herausragend die Isolde von Turid Karlsen: Das Rollendebüt kommt zur rechten Zeit am rechten Ort. Ihr wohlig runder Sopran zeichnet sich durch strahlende Höhen und vorbildliche Textartikulation aus; sie singt aus lyrischer Grundierung scheint’s mühelos, ohne Kraftaufwand und die geringste Ermüdung bis zum innig beseelten "Liebestod".»

Opening - Galaconsert of the new Operahouse - Oslo
« Den eigentlichen gesanglichen Höhepunkt aber gab es guter Letzt gegen Mitternacht, als Terje Stensvold und Turid Karlsen in Ausschnitten aus dem »Fliegenden Holländer« als Senta und Holländer durch stimmliches Können und fabelhafte Gestaltungsmöglichkeiten restlos überzeugten. »

IL TABARRO (OPERA DE MONTRÉAL)
«La soprano norvégienne Turid Karlsen projette une vraie voix italienne tout en jouant avec un égal naturel l'épouse prétendument fidèle et l'amante enfin libre.»

ARIADNE AUF NAXOS (DALLAS OPERA)
«Norwegian soprano Turid Karlsen is a glorious Ariadne, her tone spun gold, effortlessly strung out, elegantly draped around every phrase.»

TURANDOT (MADISON OPERA)
«Turid Karlsen was solid and secure in attacking her very demanding opening aria, hitting high notes right on, and never flagging as the opera went on. She has a hard edge to her voice, which is most appropriate in this role.»

TURANDOT (OPÉRA DE QUÉBEC)
«Turid Karlsen, armée elle aussi d'une voix sans faiblesse, investit sa Turandot de toute la pugnacité désirable.»

IL TROVATORE (OPERA PACIFIC)
«Taking over the role of Leonora, the apex of the inevitable love triangle with tenor and baritone, was Turid Karlsen. Karlsen has a soprano with dramatic heft yet capable of delicacy and an attractively fresh tone quality. She brought out the vulnerability in Leonora, and her singing performance just got stronger all evening. Allied with conductor John DeMain, Karlsen was able to do some voluptuous shaping of Verdi's musical phrases. The high point of the evening was a shimmering performance of the aria Leonora sings before going to her imprisoned Manrico ("D'amor sull'ali rosee"), which drew such an extended response from the audience - and the orchestra pit - that Karlsen had to break character to acknowledge the adulation.»

Salome (Opera Pacific)
“Making her American opera debut, the Norwegian soprano Turid Karlsen sounds as fresh and sturdy as she acts. Karlsen’s freshness never diminishes. She is completely in command of Strauss’ punishing music, and her voice is thrilling.”

Salome (Opera Pacific)
«Another Ljuba Welitsch? Ideal voices for Salome are hard to come by, so Turid Karlsen may be just what lovers of Richard Strauss have been waiting for. From beginning to end, the soprano provided exactly what Strauss wanted: a voice big enough to carry, yet still girlish, capable of spot-on high notes, supple phrases and superb dynamic control from one end of her range to the other, with dramatic skill to project the heroine’s complex pathology.»