"In the role of Abigail Williams, Lauren Carroll showed a ravishing lyric soprano with bright high notes that could easily ring over the ensemble of the first act.
She was particularly arresting in her Act three duet with Ryan McKinny, “John, I Knew” and Act four aria, “John, My Darling” where Carroll expressed Abigail’s desperation and jealousy at being rejected. Her voice grew in strength as the tension between the two characters also increased...In the courtroom scene, Carroll displayed great physicality and virtuosity especially in the “mad scene” and worked well with the ensemble of women, blending her voice beautifully with the choral passages."
Operawire | Abigail Williams | 2026
“The star of the performance was soprano Lauren Carroll (Abigail), whose beautiful timbre, masterful vibrato, soaring high notes, and convincing acting predict a great career.”
Plays To See | Abigail Williams | 2026
"Soprano Lauren Carroll... gave an excellent performance in the challenging role of Abigail Williams,
which required rapid acceleration up the scale and showed off her impressive upper register."
Parterre Box | Abigail Williams | 2026
"Soprano Lauren Carroll who gave a noteworthy main stage performance in last fall's Aida, proved exceptional here as well. Carroll’s incisive top range powered the jealous outrages of Abigail Williams, who leads the group of accusing girls.”
Washington Classical Review | Abigail Williams | 2026
"The first scene of the opera that follows is long, and completely worth every minute.
Lauren Carroll as Abigail Williams led the cast’s success in her conniving, manipulative turn that had me not on her side at any point.”
Opera Today | Abigail Williams | 2026
"Cafritz Young Artist and prize-winning soprano Lauren Carroll demonstrated a striking soprano voice, affectingly portraying Abigail as the piece of work she was."
Opera Gene | Abigail Williams | 2026
"Soprano Lauren Carroll, a Caftitz Young Artist, sang beautifully off-stage as the priestess”
Opera Gene | High Priestess | 2025
“Lauren Carroll as Abigail Williams, the young temptress and ringleader of the girls, attacks her role with passion and a compelling soprano sound.
In the opera, Abigail is more manipulator than victim, and it is reported at the end that she escapes Salem and any retribution. She is certainly as careless and therefore recognizably modern."
DC Theatre Arts | Abigail Williams | 2026
“Third Place went to Carroll, whose impressive soprano danced through the enraged coloratura of Mozart’s “Come scoglio” (“Like a rock”) from Cosi fan tutte, and then shone even brighter in Violetta’s “Sempre libera” (“Always free”), as the courtesan lives for life and love, come what may. She tossed off treacherous roulades and trills and even ended on the high E, which after all the dangerous filigree is nearly impossible to execute flawlessly. She did and won $10,000 for her efforts.”
Houston Press | Concert of Arias | 2025
“Two singers from the Cafritz Young Artist program made notable appearances:
firstly, silvery-voiced soprano Lauren Carroll as the off-stage Priestess”
Washington Classical Review | High Priestess | 2025