Photo Credit: Arielle Doneson.

Blue- The Glimmerglass Festival

“Among the Young Artists who formed the Greek choruses, Ariana Wehr, with her alert leggiero soprano, was a particular standout, and she had a delightful bit as a sparky nurse in the maternity ward.”

Fred Cohn, Opera News

“The six singers in their multiple roles of friends, colleagues and mourners each had their moments, but Ariana Wehr, a sparkling, flamboyant presence through the show, had a star turn as the nurse who teaches the father how to hold a baby.”

Rick Perdian, Seen and Heard International

“Ariana Wehr’s petite presence, effortless charm, and charismatic, limpid soprano earned her a nice ovation for her roles as the Nurse and Girlfriend and Congregant One.”

James Sohre, Opera Today

“Lively, clear-toned high soprano Ariana Wehr proved the evening’s vocal revelation in three ensemble parts — but the whole cast delivered conviction.”

David Shengold,

“In addition Ariana Wehr displayed a voice of power in the role of a maternity room nurse.”

William Burnett, opera

Opera in the Heights- Così Fan Tutte

“Opera in the Heights' production is replete with froth, bounce, charm. With the best ensemble cast in seasons….Everyone has something to say in this ensemble piece, and all voices are important […] Wehr is gleaming crystal.”

D.L. Groover,

Annapolis Opera- Little Women

"Amy...beautifully portrayed by soprano Ariana Wehr."

Mary Johnson, The Baltimore Sun

"Wehr, as the persuasive and artistic Amy, is a convincing actress whose sharp and crisp vocals complement the character well."

Darby DeJarnette,

Washington National Opera- Don Giovanni

"Making stronger dramatic impressions were Kerriann Otaño’s forceful, feisty Donna Elvira and Ariana Wehr’s sweetly soubrettish Zerlina."Simon Chin, Washington Post

Washington National Opera- Justice at the Opera

"But in other scenes, even serious ones, the singers were having fun. In “Un ballo in maschera,” Ariana Wehr was a bright, happy Oscar..."Anne Midgette, Washington Post

Washington National Opera- The Dictator's Wife

"Soprano Ariana Wehr (Mrs. Holy) was a constant delight in her singing. Her lovely Soprano was often employed in a vocal style that was comically conversational in style. Ms. Wehr did a superb job portraying the compromises that are necessary when advocating for the needs of others in an inflexible society." David Friscic,

"Soprano Ariana Wehr sang Ms. Holy's caffeinated melodic lines to colorful effect." Fred Cohn, Opera News

"The versatile soprano Ariana Wehr was flighty and on target in the high notes for Ms. Holy..."Charles T. Downey,

Washington National Opera- Barbarina in Le nozze di Figaro

"Ariana Wehr offers a fulsome soprano and brings memorable energy to her young woman Barbarina." 

Kate Wingfield,

"Ariana Wehr was a lovely, bubbly Barbarina."

Anne Midgette, Washington Post

"Ariana Wehr was a spunky Barbarina."Huffington Post, Opera Teen

"Ariana Wehr is a bubbly Barbarina."

Jennifer Minich,  

"Ariana Wehr’s Barbarina was cute as a button, with a waif-like sound as she searched for the lost pin at the start of Act IV."Charles T. Downey ,Washington Classical Review

The Glimmerglass Festival - Abigail Williams in The Crucible

"The tart, vibrant lyric soprano of Ariana Wehr was ideally suited to the vengeful young hysteric Abigail Williams. Wehr's ability to sing through consonants and make them springboards for the vocal line made each vocal gesture count."

Fred Cohn, Opera News

"Wehr, a tiny package of a girl, has a physical and emotional power that shoots out like firecrackers. She seizes every moment on stage. The soprano is not afraid to punch consonants and fills language with emotional intensity."

Susan Galbraith,

"A splendid group of singers...most notably the vivid soprano Ariana Wehr as the spiteful, hysterical Abigail."

Heidi Waleson, The Wall Street Journal

"Among many fine singing actors, a few highlights:... Ariana Wehr’s penetrating, scary Abigail."

Zachary Woolfe, The New York Times

"Glimmerglass cast it powerfully, with...Ariana Wehr as a searing Abigail Williams." Anne Midgette, Washington Post

"Soprano Ariana Wehr interpreted with aplomb and theatrical ability the difficult role of Abigail Williams."

Edward Sava-Segal,

"Ariana Wehr makes for a formidable Abigail Williams, the spiteful ringleader in a campaign of finger-pointing."

David Sheward,"

Soprano Ariana Wehr as the conniving Abigail Williams has an uncanny ability to send gleaming bolts into the clear blue."

Richard Carter, Blasting News

"Magnificently intense Ariana Wehr."

Linda Loomis, on Ariana Wehr as Abigail Williams in The Crucible

Washington National Opera - Kahua in Better Gods

"Ariana Wehr (Kahua) sang with a shimmering soprano sound coupled with movement reflecting Hawaiian dance. Her portrayal was subtle and feminine. During her brief dance interlude, we were reminded of the spiritual and peaceful nature of Hawaiian culture."

Arnold Saltzman, Washington Jewish Week 

"Ariana Wehr sang with a clear, beautiful soprano as the maid Kahua."

Anne Midgette, Washington Post 

"Ms. Wehr, as islander Kahua, has a beautiful timber to her voice that soars above the gorgeous orchestrations."

Keith Tittermary,

"Wehr’s voice is clear and gorgeous, adding a sense of the majestic to the Hawaiian words as she sings them." 

Kendall Mostafavi, 

"Final vocal and musical hat tips go first to Ariana Wehr, whose lovely, light soprano voice gave quiet passion to her character, Kahua."

Terry Ponick,

Washington National Opera - Gretel in Hansel and Gretel

"Soprano Ariana Wehr not only sang Gretel to perfection but played her with a winsome, coquettish, bright-eyed charm."

Gary Tischler, The Georgetowner

"Ariana Wehr’s Gretel is attentive and motherly, all dimples and teeth. [Wehr's] vocals remain bright and nimble."

Jennifer Minicsh,

"Ariana Wehr sang prettily and danced well as Gretel."

Anne Midgette, Washington Post

"Ariana Wehr's Gretel was absolutely adorable and with enough power."

Charles T. Downey, Ionarts

"Wehr, who is off to a nice start in Washington with her company debut as Frasquita last week, showed a colorful soprano a little muted in the opening “Exsultate, jubilate” (Mozart), but bright and confident, with impressively fluid coloratura, in the famous “Alleluia” from the same piece that concluded the program."

Anne Midgette, Washington Post

Washington National Opera - Frasquita in Carmen


"Small-role standouts included Ariana Wehr as Frasquita..., sparkling and fleet in the Act III fortune-telling scene."

Philip Kennicott

"Ariana Wehr and Aleksandra Romano (Frasquita and Mercedes) sound great, particularly for “Shuffle! Cut them!” as they read their fortunes in a moment of important comic relief."

Jessica Vaughan, DC Metro Theatre Arts

"Ariana Wehr with a precise hit in the style of Maiden (The Snow Maiden) sang the aria from the same opera by Rimsky-Korsakov: "With my friends to go on a berry." Even her voice sounded louder and brighter here than in the western repertoire, and with excellent light coloratura."

Vladimir Oyvin,

"Ariana Wehr made her mainstage debut as Musetta, and the crowd is eager for more of her. “La Boheme” is not new to the Saenger, but most would agree that this was the best ever. Bravo! Brava!"

DeeDee Davis, Pensacola News Journal

"Ariana Wehr (Soprano, Berta) make(s) strong contributions to this opera as well. Wehr is particularly effective when she sings of her longing for love she feels will never come her way in “Il vecchiotto cerca moglie"; she deservedly received very enthusiastic applause from Thursday’s audience for her moving performance."

Evans Donnell,

"Ariana Wehr makes the most of her limited time on stage as Berta."

Amy Stumpfl, The Tenessean