Canto Lirico, Oct. 2006 (México)

"Notable el gran cuarteto del final del segundo acto como uno de los grandes logros de la función bajo la batuta de la directora cubana, Lucy Arner al frente de la Orquesta y Coro del Teatro de Bellas Artes."

"The great quartet at the end of Act 2 [of The Abduction from the Seraglio] was worthy of note as one of the highlights of the evening, led by Cuban conductor Lucy Arner with the orchestra and chorus of Bellas Artes."

[Pictured: Belmonte: Javier Camarena; Konstanze: Olivia Gorra; Pedrillo: Jose Guadalupe Reyes; Blondchen: Rebecca Olvera]

The OperaCritic.com, Oct. 2005 (New Zealand)

"Lucy Arner and the Christchurch Symphony Orchestra [performing Suor Angelica] were on top form caressing Puccini's pungent, bittersweet score with dramatic intensity that drew us into the work in a reading that was full of sensitivity and passion."

Canterbury Star, Oct. 2005 (New Zealand)

"…the tension moves the story [of Pagliacci] along, with that wonderful dark and dramatic score beautifully brought to life by conductor Lucy Arner and the Christchurch Symphony."

ProOpera Magazine, January 2005 (México)

"Musicalmente, escuchė una decorosa lectura dirigida por Lucy Arner."

"Musically, an elegant reading was conducted by Lucy Arner."

Time Out Magazine, Jan. 2005 (New York)

"…a novel, timely interpretation [of Purcell’s Dido and Aeneas] by the innovative New York Chamber Opera led by gifted conductor Lucy Arner."

Theatrescene.net, Jan. 2005 (New York)

"Purcell's delicate opus was led by Maestra Arner with care and feeling."

Gay City News, Feb. 2005 (New York)

"[In Dido and Aeneas,] Arner coaxed rich sonorities from the small band of strings, and the blend of voices in the concerted numbers never turned harsh."

Arts Cure Magazine, Jan. 2005 (New York)

"[Dido and Aeneas,] conducted by Lucy Arner, they moved from dainty gaiety in scenes where Aeneas seduces Dido and her people, to fiercely stormy when the lovers fight, to mournful as they created a melancholic cushion of sound to accompany Dido’s heartbreaking lament as she accepts her suicidal fate."

Gay City News, January 2004 (New York)

"Lucy Arner led a spirited reading of Donizetti’s comic [opera,] Il Campanello."

ORBE Magazine, July 2003 (Lima, Perú)

"…nuestra ya conocida maestra Lucy Arner (MET/NYC Opera), manejó magistralmente a la orquesta, acompañando y guiando a los solistas, de manera que resultó un espectáculo de primerísima calidad."

"worthy of note was Maestra Lucy Arner, who handled the orchestra masterfully, accompanying and guiding the singers in a first class performance of Puccini’s masterpiece [Tosca]."

ORBE Magazine, June 2002 (Lima, Perú)

"Destacó la gran conducción de la directora Lucy Arner, que confirmó su gran conocimiento de esta opera, haciendo gala de tiempos musicales impecables, una gran sensibilidad artística, y un gran entendimiento de las posibilidades de sus cantantes, entre otras cosas. Esperó, protegió y acompañó a las voces, cosa que no siempre ocurre con todos los directores."

"The conducting of Lucy Arner stood out, confirming her in-depth knowledge of this opera by leading an impeccably paced performance, demonstrating great artistic sensitivity and a complete understanding of the of the capabilities of the singers…She followed, cared for and accompanied the voices, something which does not always happen with conductors."

El Comercio, June 2002 (Lima, Perú)

"Dirigió Lucy Arner, que afronta la dirección de orquesta sostenida por su vasto conocimiento del repertorio líríco y su intense experiencia como pianista correpetidora."

"[The production of Il Trovatore] was conducted by Lucy Arner, whose approach to the orchestra is greatly enhanced by her vast knowledge of the repertoire and her extensive experience as a vocal coach."

El Comercio, Sept. 2001 (Lima, Perú)

"La directora cubana Lucy Arner dirigió la orquesta revelando impeccable ténica, asimismo profundo conocimiento del estilo y la partitura."

"The Cuban conductor Lucy Arner led the orchestra [for Madame Butterfly], demonstrating impeccable technique as well as a profound knowledge of the style and affinity for the score."