In the title role, Chrisitina Raphaëlle Haldane shone in every facet of her performance. When Rodelinda voices her distress about losing her husband for a second time in Act II, Haldane spins a gossamer line of one pianissimo after another. If that were not enough, she uniquely shapes each line. One second, she used her coloratura to suggest crying, and the next she was digging into her surprisingly dark chest voice to illustrate despair.
Matthew Timmermans – Opera Canada

Singing the title role, soprano Christina Raphaelle Haldane brought an intense, unaffected approach to her vocal depiction of brave Rodelinda, her mellow, soulful style movingly mirroring the queen’s grace and nobility. Handel’s poignant, inexpressibly tender Act II air Ritorna, o care e dolce mio tesoro (“Return my dear, my life return, return my joy, my treasure”), Rodelinda’s heartbreaking outburst on learning her husband lives was lovingly rendered with a sense of tearful relief.
Ian Ritchie – Opera Going Toronto

Christina Raphaëlle Haldane was fully committed as Cleopatra …. and she sang fantastically well, from the exquisitely shaped melodic line of ‘Se Pieta’ to the dazzling coloratura of ‘Da Tempeste’.
Opera Magazine

Christina Raphaëlle Haldane was the queen of the stage. Suave and seductive, she portrayed a Cleopatra who got exactly what she wanted. Her world-class soprano voice was brilliant and flute-like — what ease of singing.
Ilmo Pokkinen – Savon Sanomat

Soprano Christina Haldane as Lucinda – was dramatic, subtle where she needed to be and a finely developed voice which rose to the considerable demands placed on her.
Liverpool Daily Post

The best of the bunch, Christina Haldane, had sadly little airtime as Quiteria’s pal Lucinda.

Neil Fisher – The Times

 Soprano Christina Haldane’s sparkling bel canto singing impressed … her Adina is vividly portrayed as well as charmingly sung.
Natasha Rogal – South China Morning Post

As Marie, Christina Haldane is as much a constant delight in her skittish characterisation as in the impressive dazzle of her coloratura.
Jon Holliday – The Stage

Christina Haldane was Oundle’s Vixen, an engaging performer, not least when ransacking an entire cock and hen roost. … Haldane shone above all in Act 2, in the Vixen’s set-piece emotional outburst, relenting to embrace the overtures of her partner.
Roderic Dunnet – Opera Magazine

Christina Haldane endows Rapunzel’s siren warble with a fittingly operatic excess.

Robert Shore – Time Out

Christina Raphaëlle Haldane’s Rapunzel warbles away in her tower with tongue–in-cheek operatic excess, making you wonder whether, without Sondheim, Hollywood would ever have got to Shrek.
Dominic Cavendish – The Telegraph

The stepsisters, Christina Haldane and Katherine Allen, are enjoyable irritants.
Kenneth Walton – The Scotsman

In Christina Haldane, a recently arrived masters candidate from Canada, Dzubay had the appropriate talent … For soprano Haldane, that meant conquering an obstacle course of acrobatic vocal leaps, of sweeps and dips, of stratospheric warblings and explosive bursts. Haldane triumphed and, in the process, managed to provide sufficient clarity of diction to keep the poetic messages alive.
Peter Jacobi – The Herald–Times Bloomington