“…the Creusa of young soprano Teresa Castillo, who imbued the role’s coloratura with equal turns ardor and unshakeable dread, matched the energy and dramatic momentum of Brandani and Lehmann in the pit, which shaped this performance into the high stakes story of love and betrayal that Medea in Corinto truly is.”
-Opera News

“Teresa Castillo's bright soprano exhibited a clean, concentrated sound and a lovely, intelligent musicianship.”

-Judith Malafronte, Opera News

“Creusa’s vocal line is delicate and artfully decorated. Teresa Castillo’s pure coloratura soprano communicated mournful pathos and deep foreboding but also delivered the vocal gymnastics with brilliance.”
-Gay City News

“As the princess Creusa, soprano Teresa Castillo brought with her a merciful, pious flair that, while resulting in her death and that of Giasone's children, did not feel like naivety. Her own extended vocal line came just a beat before the wedding chorus finished their assurances, as if she were bolstering herself on their belief in future joy. At the start of the second act, there's an extended solo from a harp on stage and elevated from the rest of the orchestra, which returns to compliment the silvery tones in Castillo's recitatives.”
-Logan Martell, Operawire

“Teresa Castillo, as Creusa, the woman Giasone marries, has a beautiful sound throughout and is a very expressive singer”

“Soprano Teresa Castillo was a particular standout, bringing power and florid elegance to a range of roles that included Rapunzel and Gretel..
-Joshua Kosman, SFGate

“...what makes these singers especially engaging and pleasurable to listen to is their youth and the singular freshness of their voices. This was achingly true of the sweet and pure soprano of Teresa Castillo, who sang the roles of various Princesses and Gretel.”
-Jamie Robles, Bachtrack.com

“The young and silver toned soprano Teresa Castillo pleased the audience with two beautifully interpreted songs from the mid 20th century pop standard world that begged to be sung by a lyric voice: “Luna Liberiana” by Jesus Bomilla from Costa Rica was a mix of jazz and French impressionism; “El Faisan” by Lecuona climbed to a higher tessitura that showed off Ms. Castillo's voice to great advantage.”
-Anna Tonna, Spanish Song Slinger