Ann Fogler as Prince Orlofsky was extremely impressive, her robust vocals capable of adroit agility.
— Katrina Holden-Buckley (The Arts Fuse)

Much of the heavy vocal lifting is done by Ann Fogler’s Brother, who carries much of the plot and exposition through dialogue. Fogler rises ably to the challenge, strongly capturing Brother’s overflowing energy in scenes such as an amusing vaudeville routine.
— Basil Considine (The Boston Musical Intelligencer 2019)

Fogler was able to translate Brother’s every complexity from the page to the stage...Fogler leans into Brother’s cruel and demanding tendencies, yet, aided by the genius of Cote’s libretto, Fogler shows that Brother’s every action is driven by his own insecurity and pain. And thus, she remains likable throughout the piece, always playing Brother with humanity and heart.
— Megan McCormick {Boston, Review, Theatre and Opera, U.S.A 2019}

Mezzo-soprano, Ann Fogler, as the Brother projected both playful energy and naive indifference, and made a lasting impression in the opening scene — the Brother noisily at play, humorously and troublingly oblivious to the world around him. Exclamations of the Brother’s impatience with Doodle’s infirmity were spat out with real venom. In one scene, a moment of reprisal for Doodle, Fogler exuded a disturbing glee at the sight of Doodle drawing blood from the Brother.
— Andrew J. Sammut (Boston Classical Review 2019)

Ann Fogler brought the right amount of bravado to Lepido, and managed to craft the single best character arc of the night...
— Arturo Fernandez (SCHMOPERA 2019)