top of page

Loft Opera: Tosca


Soprano Carolina Castells was the heroine of the dark drama. Her interpretation of Tosca was intensely fierce. The Santuzza-like fits of jealousy she threw amidst the love duets that punctuate Act I were charming, but she really knocked it out of the park in Act II. Fearlessly stripping down to her skivvies, she offers herself to the corrupt Scarpia only to then deliver a most gut-wrenching Vissi d’arte (as she convincingly stabs the villain with his own steak knife). Her soprano is earthy and powerful and her acting talents superb.

-Allegri con Fuoco

Little Opera Theatre of New York: Sadie in Carlisle Floyd’s Slow Dusk


Particular praise was merited by the love scene of Sadie and Micah, here beautifully rendered by soprano Carolina Castells and tenor John Kaneklides, and by Sadie’s scene of mourning following Micah’s death. Castells showed great versatility in her transition from the sweet innocence of young love through the depths of grief, loss and all-too-early maturity. 

-Arlo McKinnon, Opera News


In the work, which has the feel of a nicely composed curtain raiser, Castells sings with piercing effect. Kaneklides does, too, which rendered their love scene appropriately touching.

-David Finkle, Huffington Post


Castells (who has previously portrayed the title character in Floyd's most popular opera, Susannah) brings a raw vocal power to the role that is magnificent to experience in the relatively cozy confines of 59E59's main stage.

-Zachary Stewart, Theatermania


The story concerns a young woman Sadie, beautifully sung by soprano Carolina Castells, who performed a lovely aria filled with foreboding.

-Voce di meche


Florida Opera Theater: Micaëla in Peter Brook’s La tragédie de Carmen


She has lovely expressive eyes and easily transforms from a lovesick girl to a determined woman. 

-Matthew J. Palm, Orlando Sentinel


Symphony of the America’s concert


...Carolina Castells unfurled dusky, lustrous soprano tones in a sensuous, romantic excerpt from Maravilla, also by Torroba.

-Lawrence Budmen, Fort Lauderdale Connex


Indiana University: Beethoven’s Missa Somenis


Four were well-selected singers who, though challenged by the score’s constant top-of-the-range demands, managed to keep their vocal quality intact: foremost Carolina Castells, she reaching stratospheric notes in angelic fashion…

-Peter Jacobi, Herald Times Online


Indiana University: Antonia in Jacques Offenbach's Les contes d'Hoffmann


...Carolina Castells brought fervor and lyrical thrust to the music for the unfortunate Antonia.

-Peter Jacobi, Herald Times Online




bottom of page