“Matching Printz’s presence, mezzo-soprano Courtney Miller made a vocally resplendent Ruggiero. Previously seen in decidedly feminine roles — such as Elmire in Kirke Mechem’s Tartuffe — Miller brought an astonishingly masculine Ruggiero, from the sharp planes of her face to her posture and stride.”

- Lisa Hirsch, San Francisco Classical Voice

“Mezzo-soprano Courtney Miller gave a moving portrait of Ruggiero.”(Bradamente’s beloved, who gradually realizes that he’s trapped in the flesh-pots of Alcina’s island.

- Nick Jones, California Musing

“Mezzo-soprano Courtney Miller is a convincing Ruggiero, with a clear, lucid voice and a masculine stage presence.”

- Charlise Tiee, The Opera Tattler

“Courtney Miller as Ruggiero was elegantly assertive both as a lover & then as a warrior.”

Patrick J. Vaz, Reverberate Hills

“As Despina, mezzo-soprano Courtney Miller used every bit of vocal and physical wizardry to make the character’s two dress-up scenes, as the Doctor and the Notary, laugh-out-loud centerpieces of the opera. She was dramatically a delight throughout.”

- Lisa Hirsch, Parterre Box

“Mezzo-soprano Courtney Miller has a strong, metallic sound and was extremely winning as Despina.”

- Charlise Tiee, The Opera Tattler

“‍Mezzo-soprano Courtney Miller…was a bewitching Lola”

- Lisa Hirsch, San Francisco Classical Voice

“Courtney Miller has an enchanting lyric mezzo, and I found myself wishing that Lola had more lines. She and her gang of shorter gal-pals gave off a comic aura of Mean Girls, which added to the opera’s critique of Catholic judgementalism.”

Michael J. Vaughn, Operaville

“…a Lola who hauntingly mocks Santuzza in convincing notes dripping with scorn.”

Eddie Reynolds, Theatre Eddys

“Our antagonist also attempts to seduce Orgon’s long-suffering second wife, Elmire, sung with touching sincerity by mezzo-soprano Courtney Miller.”

- Lisa Hirsch, SF Classical Voice

“Courtney Miller contributed a bravura turn as Orgon’s wife Elmire.”

- Joshua Kosman , On a Pacific Aisle

“West Bay debutante Courtney Miller, playing Amina’s adoptive mother, was excellent, both in singing and acting.”

- Michael Zwiebach, SF Classical Voice

“West Bay Opera opens a big-sounding, stage-filling La sonnambula with a cast of principals who overall conquer triumphantly the range challenges the composer has given them…..The defending mother, Teresa, looks squarely with indignation and near disgust in the faces of the entire, accusing town and pushes up against the offending Elvino as Courtney Miller also wonderfully sings in resounding, rich mezzo soprano her belief of her daughter’s innocence.

- Eddie Reynolds, Theatre Eddys

“La Sonnambula brims with melodious music that is delivered by a cast with outstanding voices….Mezzo Courtney Miller as Teresa, Amina’s mother, and Casey Germain as Count Rodolfo also deserve recognition for fine singing and acting.”

- Victor Cordell, Cordell Reports/Berkshire Fine Arts

“Providing a solid foundation for all these gymnastics are mezzo Courtney Miller as Amina’s foster mother Teresa and bass Casey Germain as Count Rodolfo. Miller’s mezzo is beautifully even and pure.”

- Michael J Vaughn, The Almanac

“Courtney Miller as Juliet’s nurse Gertrude not only provides comic relief, but an admirable mezzo voice.”

—Victor Cordell, Berkshire Fine Arts Cordell Reports

“Courtney Miller has entirely too much fun as Juliet’s scheming nurse, Gertrude.”

— Michael J. Vaughn, Operaville

“The desperate, humanizing relationships of the other women in the barracks ground the opera’s realistic horror. Gorbachyova’s Katja, youthful French Yvette (Angela Theis), doomed Hannah (Courtney Miller), forthright Vlasta (Kristin Eder), maternal Bronka (Liubov Sokolova), and kind, shaken Krystyna (Ashley Maria Bahri Kashat) were each devastating and sharply drawn, with total commitment and glorious voices worthy of top billing.“

— Jennifer Goltz-Taylor, OPERA NEWS

“The cast also includes…Courtney Miller as Hannah...with a handful of other talented singers, and a chorus who gave the performance of a lifetime, filling the stage with voices that created unforgettable artistic and musical impact for its audience.”

— Samantha White, Macomb Daily

“Courtney Miller’s Olga, Robynne Redmon’s Larina and the very tasteful Monsieur Triquet by Dominick Corbacio completed one of the best casts to be heard at FGO in many seasons.”

— Jean-François Lejeune, OPERA NEWS

“It is hard to know where to start with the leads. Olga must exhibit contrast to her sister. Courtney Miller has a smooth mezzo and with her subtly commanding presence providing the joie de vivre that is not often found in this opera.”

— Jeff Haller, Concerto Net

“Johnson and Courtney Miller as Olga displayed real chemistry. Miller’s attractive light mezzo and captivating stage presence was the perfect foil for Kuznetsova’s dramatic projection.”

— Lawrence Budman, South Florida Classical Review

“Not to be overlooked were the exquisite performances of Olga by Courtney Miller and Lensky by Martín Nusspaumer. Both singers displayed a magnanimous tonal range and physical presence. Ms. Miller with her blonde tresses and Mr. Nusspaumer with his epic sideburns were the very picture of 19th Century Russian Romanticism.”

— George Magalois, The Sophia News

“Courtney Miller, as Olga, had a charming, flirtatious stage presence, looked pretty and she deployed her light mezzo well.”

— Greg Stepanich, Palm Beach Arts Paper

“Saratoga has long attracted gifted Young Artists. Courtney Miller, the Cherubino, looked endearingly gangly and sang with fluent musicality.”

— David Shengold, OPERA NEWS

"This is not a four-person production and indeed all the supporting performers are very good, especially Courtney Miller in the pants role of Cherubino, the young man in love with every woman he meets."

— Bob Goepfert, The Saratogian

"A special delight was Courtney Miller's convincing rendition of the lovestruck adolescent boy Cherubino, who after singing a poignantly comic aria about love seemed to be popping up everywhere, throwing himself out of a window and finally forced to dress up as a maidservant to confuse the Count."

— Priscilla McLean, Times Union

“Sir John in Love, a touchingly melancholy comedy....at its most emotionally piercing when Alice Ford [Courtney Miller] sings “Greensleeves."....From Oren Gradus as Falstaff, Courtney Miller as Alice Ford, Michael Chioldi as Ford, and Cindy Sadler as the robust Mistress Quickly, down to resonant septuagenarian Robert Honeysucker in the cameo role of the Host of the Garter Inn, there wasn’t a weak link in the cast.”

— Lloyd Schwartz, New York Arts

“Seldom is opera in English so easy to follow. Or so much fun. Odyssey makes “Sir John” seem less like an opera than like an exquisitely acted play that happens to be sung....Courtney Miller as Mistress Ford and Mara Bonde as Mistress Page make an engaging pair of conspirators.”

— Jeffrey Gantz, Boston Globe

“Fine singing also characterized the rest of the cast. Courtney Miller and Mara Bonde each brought feathery voices to the roles of Mrs. Ford and Mrs. Page respectively.”

— Aaron Keebaugh, Boston Classical Review

“Courtney Miller, who plays Meg, has ringing moments of assertiveness...excellent singing and acting throughout.”

— John W. Baker, Isthmus

“Miller uses her bright, clear mezzo voice to articulate her budding love for John Brooke (sung nobly by Alexander Elliott) and to urge Jo to accept that it is time for her to make her own family.”

— Gwen Rice, Cap Times

“The four Little Women themselves (Courtney Miller as Meg; Heather Johnson as Jo; Chelsea Morris Shephard as Beth; Jeni Houser as Amy), aided by sure-handed direction from Candace Evans, mustered warm, credible camaraderie and sisterly love....All displayed rich and even vocalism, with clear and precise English diction rendering the supertitles mostly superfluous.”

— Mikko Utevsky, The Well Tempered Ear

“As Carmen’s fellow smugglers, Benjamin Taylor, Dominick Corbacio, Elena Galván and Courtney Miller sang with convincing pleasure in the details of their trade, as they plotted their way past the border guards.“

— David Fleshler, South Florida Classic Review

“The two other females, Laura León (Frasquita) and Courtney Miller (Mercédès), demonstrated tremendous support. The card trio followed by “Quant au douanier ...” were exceptional.”

— Jeff Haller, Concerto Net

“Carmen’s friends, Mercedes (Courtney Miller) and Frasquita (Jeni Houser), deserve praise for their engaging comic tarot reading duet, the highlight of...Act III.”

— Nicholas Heavens, altdaily.com

“As the gypsies Frasquita and Mercedes, the voices of soprano Jeni Houser and Mezzo Courtney Miller blended beautifully, and their acting was crisply effective.”

— M.D. Ridge, artsongupdate.org

“Courtney Miller’s sizable and burnished mezzo strongly etched Mina Miller Edison’s interjections.”

— Lawrence Budmen, South Florida Classical Review

“Soprano Elizabeth Caballero as Alice Ford and mezzo-soprano Courtney Miller as Meg Page tended to be seen sitting in a row sipping tea with contralto Ann McMahon Quintero’s Mistress Quickly.... Their timing was splendid and their conniving delicious.”

— Joan Reinthaler, The Washington Post

“Merry Windsor Wives Alice Ford (soprano Elizabeth Caballero), Meg Page (mezzo-soprano Courtney Miller), and their neighbor and chief plotter Mistress Quickly (mezzo Ann McMahon Quintero)...Though these three roles are not huge, they’re nicely realized by three female vocalists who also possess an excellent sense of comic timing.”

— Terry Ponick, The Washington Times

“The trio of nymphs — Amanda Opuszynski, Courtney Miller and Jessica Julin — was very good.”

— Robert Battey, The Washington Post

“Their serious counterparts - Naiad, Dryad and Echo - were also well-played by Amanda Opuszynski, Courtney Miller and Jessica Julin. They were particularly impressive in their first trio, in which their fast-moving lines had to interact with great precision - and they did.”

— Lee Teply, The Virginian-Pilot

“Amanda Opuszynski, Courtney Miller and Jessica Julin masterfully sang their roles as nymphs.”

— Gene Harris, The Richmond Times-Dispatch

“While “Traviata” is notable for its focus on its three main characters, the supporting players are important as well, particularly the smaller roles of Flora Bervoix and Baron Douphol, Violetta’s once and future lover. Both were incisively played by Courtney Miller and André Chiang respectively, with Mr. Chiang’s austere dignity providing crucial support at important moments in this opera’s key conflict. “

— Terry Ponick - Communities Digital News

“Other fine vocals were displayed by Malcolm MacKenzie (Georgio Germont, Alfredo’s father), Courtney Miller (Flora Bervoix), and Andre Chiang, as Baron Douphol.”

— Tiffany Draut - DC Metro Theater Arts

“Secondary leads are notable as well, especially baritone Andre Chiang, who cuts an aristocratic figure as Baron Duphol and sings with a bright, copper tone; Courtney Miller as Violetta’s friend Flora, Matthew Scollin as the Marquis d’Obigny, and Keith Brown as Dr. Grenvil.”

— B. J. Atkinson – The Virginian-Pilot

“The Queen’s three “ladies” (Natalie Polito, Courtney Miller and Sarah Williams) together provided one of the best trios we’ve ever heard in a “Magic Flute” production. Applying just the right comic touch, they were a joy to hear and behold and served to keep the proceedings light and airy every time they threatened to get too serious.”

— Terry Ponick, The Washington Times

“The supporting cast is unusually strong. Natalie Polito, Courtney Miller and Sarah Williams, as the three ladies-in-waiting to the Queen, have great fun with their parts.”

— Clarke Bustard, LetterV.blogspot.com