Kristīne received spectacular notices for her role debut as Manon Lescaut at the Royal Opera House in June:

“In the title role, Kristine Opolais sings with all the lovely lyrical ache and poise that Puccini must have dreamt of . . .”
Rupert Christiansen – The Telegraph

“The playing was sumptuous, the cast magnificent . . . Opolais, (was) pure-toned and powerful. . .”
Fiona Maddocks – The Guardian

“Kristīne Opolais was in wonderful voice as Manon, even of tone and richly coloured, while as an actress of great power she traced a painful descent from sweet ingénue through kept woman to trafficked prostitute before finding redemption in death, filled with regret for what might have been – “Oblivion will wash away my faults but my love will never die.”
Mark Valencia –

“Kristine Opolais in the title role is a worthy partner for Kaufmann; her transformation from innocent girl to mature woman is remarkable.”
Barry Millington – London Evening Standard

“With Kristine Opolais in the title role and Jonas Kaufman as her lover the Chevalier des Grieux, we are treated to two of the world’s finest singers at the height of their powers not only giving magnificent performances but clearly raising each other to even greater heights than usual . . . when they are belting out Puccini’s emotional music with such commitment and perfect delivery, the result is totally gripping.”
William Hartston –

“Opolais masters the full scope of the character’s demanding range, from a gutsy alto up to shimmering high notes . . . her performance was expressive and charismatic.”
Briony Rawle – A Younger Theatre

“Kristine Opolais manages Manon’s transformation from good-time girl to tragic victim wonderfully well, using silvery pianissimos to marvellous effect . . .”
Andrew Clements – The Guardian

“Opolais, with her shining, slimmer soprano tone, has the intensity to match him (Jonas Kaufmann) as Manon.”
Richard Fairman – Financial Times

“Kristine Opolais . . . gave a bright and vibrant account of the role of Manon . . . in the final act, Opolais was marvellously moving in Manon’s death scene.”
Robert Hugill – Planet Hugill

“Ms. Opolais affectingly conveyed Manon’s girlish awkwardness and with a voice full of nuanced expression can act just as well with her voice, as physically . . . Ms. Opolais makes it perfectly clear through her sensuous singing that Manon’s attraction to Des Grieux is not just an impetuous rebellious act but a rootless young woman’s yearning for being needed and for all-consuming love.”
Jim Pritchard – Seen and Heard International

“Opolais sang beautifully . . .”
Hugo Shirley – The Spectator

“In two of this season’s most exciting role debuts, both soprano Kristine Opolais and tenor Jonas Kaufmann appear for the first time as star-thwarted lovers Manon and Des Grieux . . . Opolais warms from an understated opening innocence to an astonishing climax in Act IV . . .”
Alexandra Coghlan – NewStatesman

“From the moment Kaufmann and Opolais embark – with infinite delicacy – on their emotional journey, it becomes clear that this is a vocal marriage made in heaven. His warmly burnished sound is balanced by the exquisitely-nuanced purity of hers . . .”
Michael Church  – The Independent

“Perfectly matched physically to their roles and to each other, Latvian soprano Kristine Opolais and German tenor Jonas Kaufmann look and sound a dream. Their voices ample and glamorous, they encapsulate the doomed young lovers in their journey to despair in the wilderness of the final scene. It is hard to imagine either of the roles better done.”
George Hall –