"Eliza Bonet, as Kayla’s Mother, showed richly dark colors in her voice and used her every moment to great dramatic effect... her physical and vocal commitment is so believable to be “ecstatic” dramatic truth. Her own role in the climax of this opera is a stroke of brilliant dramatic writing and emotionally harrowing in Bonet’s performance."
"Eliza Bonet gives a nuanced performance with humor, pathos, and a stellar soprano."
- Opera News
"Mezzo Eliza Bonet brought a fierce energy to the conflicted Nelda."
- Wall Street Journal
"The mezzo-soprano Eliza Bonet did a compelling job as Kayla’s mother."
- The Washington Post
"Bonet delivered this scene with forthright intensity." (Taking Up Serpents)
"Bonet's voice, taut as black leather, ascends to triumphant top notes over snaking leitmotifs..."
- Opera News
"Eliza Bonet and Emmett O’Hanlon were charming and hilarious in the roles of Paquette and Maximilian. Bonet as the promiscuous maid had a twinkle in her eye that made me think of Aubrey Plaza, snarky and sexy."
"Ms. Bonet made the most of her every appearance embodying an infectious good humor, all the while wielding a vibrant, sizeable mezzo."
- Opera Today
"...as Boris attempted to groom his son Fyodor (the ardently expressive mezzo-soprano Eliza Bonet) to become a wise leader."
- LA Times
"Mezzo-soprano Eliza Bonet (Mistress Salome) and bass-baritone Matthew Treviño (The Client) were perfectly paired, providing musical power and dramatic excellence. On every level, this was a captivating performance."
- Opera News
"Mezzo Eliza Bonet made for a lusty, full voiced dominatrix."
"Eliza Bonet puts her lush mezzo-soprano to excellent use as the complicated “Domme.”"
- The Tennessean
"...equaled by Ms. Bonet's bright voice and sincerity in her characterization... Ms. Bonet as the Domme oscillates between innocence and experience in a most pleasing way."
"Strong supporting performances included Eliza Bonet as a sensitive and loyal Annina."
- Opera News
"La “modernización” de Berta, le dio a Eliza Bonet una gran oportunidad para lucirse. Su escena es posiblemente lo más ingenioso de la puesta y fue muy aplaudida.
"The "modernization" for Berta, gave Eliza Bonet a great opportunity to show off. Her scene is perhaps most ingenious of the show and was widely applauded."
- El Nuevo Herald
"Eliza Bonet, as Berta, sang her one aria with crispness and dispatch."
-Palm Beach Arts Paper
"Most notable was Eliza Bonet, singing the title role in Jacques Offenbach’s La Grande-Duchesse de Gérolstein in the aria “Ah! Que j’aime la militaire!”... Backed up by the “army” of all the male Merolini, Bonet belted out this aria’s witty lyrics with the sort of gusto that triggered memories of Ethel Merman...it was a ditty that totally sparkled under Bonet’s uninhibited delivery."
-SF Classical Music Examiner, examiner.com
"As Eunice Hubbell, mezzo-soprano Eliza Bonet sang with a full bright sound and much warmth."
"In the role of Eunice Hubbell, Stella's upstairs neighbor, mezzo-soprano Eliza Bonet gave a fine performance."
-Berkeley Daily Planet
"There were strong contributions too from Eliza Bonet as Eunice."
"...caricatures will battle for your attention every inch of the way, especially mezzo-soprano Eliza Bonet as Tisbe; soprano Anne Slovin as Clorinda, the other stepsister; and bass Matthew Lau as Don Magnifico, Cinderella’s father. Their vocals, facial expressions and all-around physical humor shine throughout as they never let up in crafting a delightful trio of buffoons."
“Noémie (Katy Lindhart) and Dorothée (Eliza Bonet)...steal every scene they're in.”
"Eliza Bonet made the most of her brief appearance as Kate Pinkerton."