As Cherubino in Le Nozze di Figaro with Manhattan Opera Studio
"The acting she did with her body truly amplified the character"
-Voce di meche, 2017
As Soloist in Popular Songs by Armenian Composers with The Bostonians
"The standing-room-only audience was treated to the vocal talents of soprano, Nouné Karapetian; mezzo-soprano, Roselin Osser; tenor, Michael Calmés; and baritone, Philip Lima, along with dazzling accompaniment on piano by William Merrill...The wide variety of music moved from perfectly synchronous quartets to a number of solos from each artist, with highlights including...a playful duet of Yot Kuyrer (Aram Satunts) from Karapetian and Osser. Each song, performed in Armenian, was made even more impressive as, with the excep-tion of Karapetian, who is of Armenian descent, none of the other artists speak the language. Osser, Calmés and Lima all learned the texts of the pieces phonetically in order to sing their respective roles so convincingly in Armenian, and were all awarded an honorary “-ian” in their names at the conclusion of the performance by Armenian Museum Director Berj Chekijian."
-The Armenian Mirror-Spectator, 2015
As Pitti-Sing in The Mikado with Opera Providence
"Roselin Osser sang Pitti-Sing with a lovely tone and superb comic timing."
-The Trumpet Bray: A Publication of the New England Gilbert & Sullivan Society, 2014
As soloist in A Musical Portrait of Emily Dickinson with the Boston Singers Resource Recital Series
"The production began with a written, verbal introduction, leading into a song, beautifully sung by mezzo-soprano Roselin Osser. A gorgeous, mellifluous mezzo, Osser is vocally well-rounded and capable of a wide range of timbres...All three of the singers had an excellent dramatic ability, conveying their words, both spoken and sung, with vivid expression and engaging intensity."
-The Boston Musical Intelligencer, 2013
As soloist with the Greater New Bedford Choral Society
"Concluding the first half of the concert was "Missa Florens" by Dale Jergenson...Also lending her talents to this piece was guest mezzo-soprano Roselin Osser, who beautifully sang "qui tollis peccata mundi" (take away the sins of the world).
After a five-minute intermission, the second portion of the program began with two delightful arias from Osser, who possesses a velvety voice that she wields with marvelous control. (Interestingly, according to the program notes, this Watertown resident is an engineer in the field of green building design as well as an active performer.) Her offerings were the very appropriate "Must Winter Come So Soon?" from Samuel Barber's first opera, "Vanessa," and "Non Piu Mesta" from Rossini's "La Cenerentola," in which her expressive face and sparkling runs were ably deployed."
-The Standard-Times, Serving the South Coast Community, 2013
As Rosina in The Barber of Seville with Longwood Opera
"Above all, Osser is the voice to hear and the actor to watch. When she stepped onto the stage for her first aria, the audience held its breath. She has admirable control over an audience as well as a lovely instrument."
-The New England Theater Geek, 2012
As Satirino in La Calisto with the Harvard Early Music Society
"Pane’s satyr sidekicks (Jared Levin as Silvano, and Roselin Osser as Satirino) brought excellent comic energy to their parts as well as vocal adeptness and skilled slapstick physicality: the playful satyr Satirino spies on Diana and Endimione, and tries to persuade Linfea that a boy/goat is what she is looking for in a man. I hope to hear Osser sometime in a more lyrical role."
-The Boston Musical Intelligencer, 2011
As the title role in Iolanthe with the MIT Gilbert and Sullivan Players
"Rosie Osser played Iolanthe straight down the middle, with élan but without ostentation (she was particularly affecting in her big solo in Act II)"
-The Trumpet Bray: A Publication of the New England Gilbert & Sullivan Society, 2009
As Mad Margaret in Ruddigore with the MIT Gilbert and Sullivan Players
"Rosie Osser sounded to me like a warm, rich operatic mezzo... and yet, didn't I hear her as a very fine Patience a couple of years ago? In any case, she's a lovely and amazingly-talented (and very athletic) young woman. It's a shame she's insane... oh, was that acting? She had the focus to make us believe that the character was truly mad, rather than piling on "crazy" shtick to make us laugh... the result being that we cared about her, and laughed even more heartily. Her interaction with the forceful Despard of Barratt Park was a treat..."
-The Trumpet Bray: A Publication of the New England Gilbert & Sullivan Society, 2008
As John Wellington Wells in The Sorcerer with the MIT Gilbert and Sullivan Players
"First and foremost, Osser’s Wells completely stole the show: there was not a moment she was onstage that the eye wasn’t drawn to her. Whether it was her rubber-faced scowling or her ever-polite pinky jutting from a teacup, she would have made even a dreary show interesting, and instead served as icing on the cake for this fun romp."
-The Tech: MIT's Oldest and Largest Newspaper, 2006
As the title role in Patience with the MIT Gilbert and Sullivan Players
"The great casting really added to the telling of the story — Patience was nicely cute and naive, with very entertaining facial expressions..."
-The Tech: MIT's Oldest and Largest Newspaper, 2006
As Katisha in The Mikado with the MIT Gilbert and Sullivan Players
"In particular, Rosie Osser as Katisha, an elderly lady who had fallen in love with Nanki-Poo and essentially drove him from the village for fear of marrying such an old witch, was fantastic. With a powerful voice, dramatic expressions, and dead accurate comedic timing, Osser carried the show from the minute she walked on stage at the end of the ﬁrst act."
-The Tech: MIT's Oldest and Largest Newspaper, 2005
"The Act I finale introduced the powerful presence, witty acting, and strong and lovely voice of Katisha, graduate student Rosie Osser - I want to see and hear more of this lady!"
-The Trumpet Bray: A Publication of the New England Gilbert & Sullivan Society, 2005