As Desdemona in Verdi's Otello:

Ben Allaway - The Des Moines Register

"Desdemona was portrayed by Dana Beth Miller, a drop-dead gorgeous young soprano with an equally voluptuous tone. Add fine acting skills and you have quite a performer, utterly captivating in her sincerity and devotion to Otello. Her "Willow Song" was masterful in her voice's ability to evoke her character's vulnerability and virtue."

Mark Thomas Ketterson - Opera News

"Whatever the genre, Desdemona can potentially steal the evening, as Dana Beth Miller nearly did here. Her opulent spinto crowned the ensembles with a laser-bright gleam, and the pianissimo employed for the exposed final ascent in the "Ave Maria" was ravishing."

Edward Ortiz - The Sacramento Bee

"In the last act of Verdi's Otello, a doomed Desdemona sings two back-to-back arias like a woman who knows she's as much dead as alive. These were delivered with gut-wrenching power by soprano Dana Beth Miller...The evening proved to be a game of contrasts that ranged from the sublime to the ordinary. It was Miller, in her Sacramento Opera debut, who provided the sublime. She did so with a powerful and rich soprano that radiated warmth and depth. This, in turn, gave true dimension to the role of Desdemona. During the all-important arias "Willow Song" and "Ave Maria" in the last act, Miller sang with deeply felt emotion. She gave the character an intriguing patina that conveyed pathos and dramatic grit."

Classical Singer Convention Opening Session

Lindsey Dickson - Classical Singer Magazine

"Convention attendees couldn't help but hold their collective breath during the opening session of the Classical Singer 2007 Convention on the evening of Thursday, May 24. Dana Beth Miller, last year's Professional Division first-place winner, stunned the audience to silence with her performance of "To this we've come" from Menotti's The Consul. Her divine presentation brought out the drama of the aria - the same aria that won her the first prize at the Professional Division Finals Concert in Philadelphia last year. A year later, it is clear: Dana Beth Miller is a force to be reckoned with on the operatic scene."

As Magda Sorel in The Consul:

Kathleen Allen - Arizona Daily Star

"Soprano Dana Beth Miller has the presence, the voice, the stamina and acting chops to carry off the constantly on-stage role of Magda. Her voice soared, her grief was palpable, and when she sang "To this we've come" in the second act, the audience in the Tucson Music Hall held its breath."

Maria Nockin - Opera Japonica

"Dana Beth Miller was a credible and robust-voiced Magda who succeeded in involving the audience emotionally with her travails."

Great Moments from Grand Opera - Albany Symphony Orchestra

James Hennerty - Times Union

"The star of the evening was soprano Miller. She has a lyric voice which is powerful in volume when needed, and is a compelling actress even on a concert stage. In two Puccini works, Mimi's aria from La Boheme and Manon's despairing song from Manon Lescaut, Miller showed the audience what opera is all about. She brings the appropriate emotion to every phrase she sings. And with her vocal power she sails over the orchestra, never in danger of being drowned out."

As Donna Elvira in Don Giovanni:

Janelle Gelfand - Cincinnati Enquirer

"Dana Beth Miller shone as Elvira. Her bittersweet aria, "Mi tradi," was beautifully felt and she brought richness of expression to every moment."

Thomas Consolo - Cincinnati Post

"Dana Beth Miller's powerful voice captured the conflicted Donna Elvira....While filling the expanse of Music Hall, she maintained an elegant tone and controlled technique."

Brian Kellow - Opera News

"Dana Beth Miller did nicely as Donna Elvira, delivering an attentively sung and heartfelt "Mi tradi," instead of the nagging harpy we are often given, this was an Elvira of genuine pathos."

Burt Saidel - The Oakwood Register

"The evening belonged to Dana Beth Miller as Donna Elvira. Her sweeping vocal power and tonal contol made Elvira's tortured arias crystalline. Her 'takes' made the first act's amorous mayhem make sense and added definition."

Maria Nockin - Opera Japonica

"Soprano Dana Beth Miller was a rich-voiced Elvira and she drew a credible, human picture of her character, both with her excellent acting and with her dramatic singing."

Jeff Jung – Showmag.com

"Of the Don’s various nemeses, Dana Beth Miller’s Elvira easily stood out both musically and dramatically. Her voice was both confident and discreetly covered, guarding her from the unpleasant stridency that threatens some of this role’s arias."

Merola Grand Finale at the San Francisco Opera:

Octavio Roca – The San Francisco Chronicle

"There was something for everyone, so I may as well start with the beginning and the evening’s biggest find. Her name is Dana Beth Miller, and it takes no great seer to predict that we are going to be hearing a lot from this Texan soprano.

…Miller was something else. She had no trouble filling the house with a ravishing, creamy tone produced with sensual control and canny breath support. If her Suzel [L’amico Fritz] made one sit up and listen, her Suor Angelica later drew cheers. In “Senza mamma,” the ecstatic climax of Puccini’s tale of a nun’s sing and redemption, Miller was devastating. Her gestures were simple and rang true, and so did her singing. The top of her voice…was nevertheless lovely and vibrant."

As the title role in Lucrezia Borgia:

David Sheingold - Philadelphia City Paper

"Dana Beth Miller made an impressive Lucrezia (a daunting part for established prima donnas, let alone a first year conservatory student). Sumptuous of timbre, yet agile, with a fine stage presence, Miller phrased and acted with care and intelligence."

Daniel Webster – Philadelphia Inquirer

"Dana Beth Miller was able to uncover many of the dimensions of the role. Her voice has conviction, and she has begun to find the eloquence in dynamic shadings... Miller probed these feelings in singing that…often carried dramatic certainty."

As Eve’s Daughter in the world premiere of Deborah Drattell’s Lilith

Joshua Rosenblum – Opera News

"Yet it was Eve’s Daughter (sung by Dana Beth Miller with noteworthy agility….) who in the end emerged as the fulcrum of the piece…"

George Robinson - The Jewish Week

"What redeems this production are two extraordinary performances by Clayton and Miller, both NYCO debutantes.....Miller's palpable bewilderment and dismay at the goings-on at the funeral and in Eden is both convincing and moving."

Justin Davidson – Newsday

"Even in mourning uniform, Dana Beth Miller managed to stand out as Eve's nameless daughter.."

Anthony Tommasini – The New York Times

"Also strong are baritone Marcus DeLoach as the Son and the soprano Dana Beth Miller, in her company debut as the Daughter."

As Giorgetta in Il tabarro and Nella in Gianni Schicchi:

Robert C. Fuller – The Des Moines Register

"Soprano Dana Beth Miller and tenor Steven Snow soar in "Il Tabarro." Both sing with a passion, intensity and radiance as the ill-fated lovers. They also return to give us their comedic talents in "Gianni Schicchi."

Ben Allaway – Opera News

"Dramatically convincing, Dana Beth Miller as Giorgetta sang beautifully in her middle range…"