"Raphaelson’s plusher tone and whispering delivery made “Quod Eva Tristis Abstulit” (“That Which Sad Eve Withdrew”) sound more like a dramatic scene than a recitation."
Boston Musical Intelligencer March 2012
Review of: Exsultemus - A Day at the Royal Abbey of Montmartre

"Of the many fine chorister soloists, let me single out Claire Raphaelson. Although a gentler, softer singer, she had an exceptionally lovely tone quality,  and sensitivity to the music as well as stage presence."
Boston Musical Intelligencer January 2012
Review of: Helios Early Opera - David et Jonathas

 "Claire Raphaelson, as Giunone, drew her convincingly as a complex character...Raphaelson demonstrated expressivity, nuance, and also vocal power."
Boston Musical Intelligencer December 2011
Review of: Harvard Early Music Society - La Calisto

"Soprano Claire Raphaelson (Eraclito and Poppea) acted well, particularly in the elaborate (but quite clever) comic stage business with which she occupied herself..."
Boston Musical Intelligencer November 2011
Review of: Helios Early Opera - An Evening of Opera Scenes

"Stylish"
The Boston Globe June 2011
Review of: Harvard Early Music Society - Bacchus et Erigone

"...the clearest lines and most stylistically nuanced performances came from Claire Raphaelson. The music for Erigone is vigorously diverse, and Raphaelson easily transitioned between the sweet lyricism of “Dieux de Cythère, enchantés ce séjour” to the more rousing and vivacious energy of her closing aria. The final aria was particularly remarkable as she skillfully brought more energy and verve to each reiteration of the “Cessez” text, lending a charming sense of
chutzpah to the character."
Boston Musical Intelligencer June 2011
Review of: Harvard Early Music Society - Bacchus et Erigone