Reviews

Mahler's 4th Symphonny - Seattle Symphony

The soprano soloist was Terri Richter, whose fresh, lovely timbre was well suited to the wide compass of her fourth-movement solos. Even her lowest tones flowed easily over the orchestra, with Schwarz adroitly preserving the balance between singer and instrumentalists.
--The Seattle Times, February 12, 2005 -- Melinda Bargreen

The Masked Ball - Seattle Opera

Director Michael Hampe yields impressive work out of his characters as individuals, and yet, energetically, they failed to really connect. In fact, the lone exception to this is Terri Richter's Oscar. She is filled with life and fun and conveys that boldly to everyone in the house. Perhaps the rest of the cast will follow suit as the run continues."
--The Eastside Journal, May 8, 2002 -- Lesley Holdcroft

The Masked Ball - Seattle Opera

Terri Richter had a terrific night in the coloratura "pants" role of the page, Oscar, leaping to the fore with a lot of sparkle and dazzle in both the voice and the stage personality. She has taken minor roles with the company before, and it's clear that she is ready for considerably more.
-- The Seattle Times, May 6, 2002 -- Melinda Bargreen

The Masked Ball - Seattle Opera

Terri Richter proved to be an admirable Oscar both nights. She may have possessed too much sparkle for my taste -- surely at the request of Hampe -- but she was persuasive as the King's favorite page and sang with lightness and flexibility and verve.
-- The Seattle PI, May 6, 2002 -- R.M. Campbell

"Heavenly" is the right word for what we were about to encounter...Soprano Terri Richter, described in the Seattle Times as one of the "rising stars" of Seattle Opera, presented an evening of love songs from Italian operettas to The Sound of Music. In the cozy space of the pine-and-rock-walled chapel, we could see every nuance of expression on Richter's face, and the songs seemed to enfold the audience.
--Alaska Airlines Magazine, September 2001 by Leslie Forsberg, Managing Editor

Bach Christmas Oratorio
Rialto Theater, Tacoma - Northwest Sinfonietta

"Soprano Terri Richter sounds better every time she's on the Rialto stage. This budding voice seems light because it's so fresh and clear, but it's quite substantial. It's also exceptionally generous and easy, both likable and impressive. The high point of the concert was Richter's echoed aria in part four."
--The News Tribune, December 12, 2000 by Jen Graves

Poulenc Gloria - Fort Collins Symphony

"In the (Poulenc) Gloria, the Larimer Chorale sang in all six subsections of the work with energy and balanced color, by itself and in collaboration with young soprano soloist Terri Richter. Richter's sensitive, heartfelt voice projected an attractive innocence, which fit nicely in Poulenc's setting. Particularly effective were Richter's melancholy-tinged lines in "Domine Deus," as well as her ...plaintiveness in the beautiful conclusion, "Qui Sedes." An appreciative audience gave a standing ovation at concert's end."
--Fort Collins Coloradoan, May 1st, 2000 by David B. Wohl

Boris Godunov - Seattle Opera

"...outstanding were Kevin Langan's Pimen, Arthur Woodley's Varlaam, and Terri Richter's Xenia."
--Opera News, March 2000, by John F. Hulcoop

The Magic Flute - Seattle Opera

"Nathan Gunn's Papageno was a handsome companion in this duet....but again it was his counterpart, Terri Richter as Papagena, who made the more effective impression. Richter's charmingly sweet voice and lightly-scaled vitality was delectable. Next to Richter, Gunn's Papageno seemed a size too large."
--Opera, March 2000, by Theodore Deacon

The Sound of Music - Leavenworth Summer Theater 1999

"When Maria, played by Terri Richter, made her appearance on the stage, one thought she was too pretty to play her character, but that soon became a non-issue. Captivated by her beautiful voice and fine acting skills, she became a perfect and more serious Maria, as compared to the more comedic portrayals of the past, which proves the role lends itself to a degree of interpretation."
-- The Leavenworth Echo, July 28, 1999, by Kathy Anderson

Bach's St. Matthew Passion, Benaroya Hall
Orchestra Seattle, George Shangrow conducting

"Their [the musicians'] commitment and devotion to the music was admirable. Shangrow obviously knows the music well and cares deeply about it. The singers were (more) varied: Soprano Terri Richter and baritone Erich Parce were the best."
-- The Seattle Post-Intelligencer, April 5, 1999, by R.M. Campbell

L'allegro, il Pensieroso, ed Il Moderato

"The soprano and tenor get the lion's share of the arias. Richter's bright, clear soprano soared through the very high arias with ease.... Traffic patterns in an oratorio can be tricky, with all the various stops and starts and entrances, and at times on Saturday evening (the first performance) there were some fairly comical mix-ups and a few startled soloists -- minor gaffes which both the performers and the audience took in good part."
-- The Seattle Times, March 17, 1999, by Melinda Bargreen

There were some excellent soloists, most notably soprano Terri Richter. She has a bright, forward sound, both flexible and generous in size. Not only did she sing Handel's music passionately, she readily elucidated its technical demands.

Stern has an eager sense of humor, and on Saturday he was the cause of some good-natured laughing. After the opening aria of "II pensieroso," he looked to his left at Richter, her legs crossed, whose attention was entirely occupied with the score in her lap. Choruses usually wait to be cued to stand up; soloists usually don't. Stern's look was obviously one of "Well, it's your turn to sing, so please stand." She didn't catch his gaze, so he looked again.

Finally concertmaster Marjorie Kransberg-Talvi gently touched Richter's arm with her bow. Surprised, she looked up and turned her head straight into Stern's anxious eyes. The sheer astonishment in Richter's eyes must have registered because Stern looked at his score, then looked to his right, where Ladefoged-Dollase was still standing, waiting for her cue with some puzzlement, knowing very well she was to continue singing, not the soprano. A smiling Richter wiped her forehead with her hand in mock relief, a flustered Stern looked embarrassed and the house laughed with open pleasure.
-- The Seattle Post-Intelligencer, March 15, 1999, by R.M. Campbell

Cosi fan tutte

"Their [the singers'] ambition and freshness were evident at every turn. The most persuasive of the group was the Despina of Terri Richter, one of two singers from Seattle."
-- The Seattle Post-Intelligencer, November 23, 1998, by R.M. Campbell