"...In particular, Alize Rozsnyai who played Phyllis, the shepherdess and ward of court. She had a superb voice which carried right through the auditorium." --Harrogate News, Iolanthe at the International Gilbert & Sullivan Festival, 2018

"Rozsnyai brings her terrific singing to "soon"...Some of the best singers are performers who are making their debut with ActorsNET. In playing Anne, Rozsnyai sings with power and also brings intelligence to the young woman married to an older man...The cast also gets a lot of laughs. Anne talks about knowing Fredrik since she was a child. He was a friend of her father’s and she used to call him Uncle Fredrik. “And now you’re my husband, isn’t that amusing?” Anne asks. Rozsnyai delivers the line perfectly and Hartpence’s reaction is priceless." --CentralJersey.com (Anthony Stoeckert) about Stephen Sondheim's A Little Night Music with Actors NET Bucks County

"The jagged coloratura of Hilda’s mad scenes recall Berg, a beautiful duet for Hilda and young lover Elizabeth recalls Richard Strauss...Some of the most beautiful singing came from sopranos Sarah Shafer and Alize Rozsnyai as Elizabeth and Hilda, respectively." --Bachtrack, Elegy for Young Lovers by H. W. Henze with Opera Philadelphia and Curtis Opera Theatre

"But, another John Cage composition, Aria, was a showstopper, led by a sparkling performance from soprano Alize Rozsnyai, who used many props to bring this solo piece to life: camera, match, soda can, and other objects. These were all in the spirit of the aria’s entertaining but super random nature. Cage’s composition is vocally demanding, asking the soprano to spin descending vocal lines straight into eccentric character in spoken word — one after the next, showcasing Rozsnyai’s acting prowess. Flipping from singing to speaking can get tiring very quickly and Rozsnyai made it seem like this was another day in the office for her." --ArtBlog, Cage Aria with Arcana New Music Ensemble

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"Alize Rozsnyai and Calder Craig—as his protagonists wading through memories of a recently deceased loved one—carried out an incredibly topical score/script and remained stone-faced as they talked (in perfect 4/4 time) about the value of having a church job, disliking Arizona, and the travesty of how there’s “no wifi at the beach.” Costume changes, circular narrative, and Rozsnyai’s deliciously diva performances matched with Craig’s soothing, calm baritone made this almost-too-relatable work radically enjoyable." --I Care If You Listen, Candy Corn, world premiere by Jason Cady with Experiments in Opera

"Just as the Purcell opera was headed toward its ultimate conclusion - Dido's great aria "When I am laid into earth" - Rozsnyai broke into a wild vocal cadenza that turned out to be Luciano Berio's 1965 Sequenza III. Rozsnyai seemed alternately to be having a seizure and singing in tongues, though you soon realized she was displaying profound imagination and control." --Philadelphia Inquirer, Dido + with Curtis Opera Theatre