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Bianca in Bianca e Falliero at Oper Frankfurt 

“Der Sopranistin Heather Phillips gelingt ein famoses Debüt."

"The American soprano, who has made her European debut here, is not only a great performer: she begins as a sky-high, exultant, amorous girl in a pale pink pleated skirt with little golden boots, who is confronted with the cylindrically rigid towering walls of Venice as a symbol of inexorable power, then transforms into a sufferer with the terror-stricken look of a classical tragedienne and ends as a disillusioned, battered but inwardly strong woman."

- Wolfgang Fuhrmann, Frankfurter Allgemeiner Zeitung



Bianca in Bianca e Falliero at Oper Frankfurt 

"Phenomenal soloists..."

"That this tour de force, this ride on the razor's edge succeeded in view of the horrendous vocal demands of Rossini's score, is primarily due to the phenomenal soloists. The two young singers, Heather Phillips as Bianca and Beth Taylor as Falliero, rose to a veritable frenzy. Even the trickiest fioritures, the most debauched vocalizes and trills they mastered with elegance, verve and put the audience under a magical spell. At no moment was their singing a meaningless end in itself, but always an expression of a dramatic or an emotional affect." 


- Uwe Schweikert, Opera Welt


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Bianca in Bianca e Falliero at Oper Frankfurt 

"Phillips showed strong nerves and high courage...shines radiantly..."

"The most prominent aria is Bianca’s 'Teco io resto' as an adaptation of 'Tanti affetti' from La donna del lago. The difficulties of Bianca e Falliero, however, lie less in Gioachino Rossini’s multiple adaptations and self-borrowings than in the extremely complicated part of the Venetian noblewoman Bianca. Hardly a phrase passes in this one without ornamentation in all registers. In this respect, the American Heather Phillips showed strong nerves and high courage in her European debut…Phillips as Bianca shines radiantly in her big arias at the beginning and end of the opera. At the end the music triumphs…Bianca remains alone with herself and her potential for violence, accumulated in the encounters with her father and Falliero."


Roland H. Dippel, Neue Musik Zeitung



Nannetta in Falstaff at Arizona Opera

“…she voiced her music beautifully, through to a shimmering Fairy Song complete with a diminuendoed high A flat.” 


- David Shengold, Opera News



Nannetta in Falstaff at Arizona Opera

“She and Heather Phillips, who sang Nannetta, stole the show…these two women produced some of the sweetest notes and most finely shaped phrases of the evening.”


- Maria Nockin, Opera Today


Micaela in Carmen at Austin Opera

“The cast is stellar...but there are a few standouts worthy of mention. Heather Phillips' Micaëla is beautiful and heartbreaking, she embodies unrequited love wonderfully." 


- Lynn Beaver,



Katie in Cold Mountain at Opera Philadelphia

“…and among a number of fine sounding singers, Heather Phillips stood out as one of a trio of deceptive sirens who lure Inman into a trap.”


- Albert Innaurato, Parterre Box

Micaëla in Carmen - Opera Naples 

“As jilted girlfriend Micaëla, with her heart of butterflies and spine of steel, Heather Phillips is so sweetly commanding you have to cheer for her. Nice girls finish last in Carmen's gritty world, but Phillips' plaintive aria outside the gypsy camp in the third act is an emotional high for the audience.”

Harriet Howard Heithaus, Naples Daily News

Soprano Soloist in Mass in Time of War - Canton Symphony Orchestra 

“The vocal quartet, featuring the crystalline luster of soprano Heather Phillips...was spellbinding.“ 
Tom Wachunas,

Soprano Soloist in Brahms Requiem - Austin Symphony Orchestra

“Conductor Peter Bay brought out there gently shifting moods of this monumental but not overpowering musical treatment of human grief & hope. Soprano Heather Phillips & baritone Paul Max Tipton responded by making their solos modest of restraint, almost repose.”

Michael Barnes,

Konstanze in Abduction from the Seraglio - New Orleans Opera

“The major arias and duets were well sung by the principal s, especially the romantic leads, soprano Heather Phillips (Constanza) and tenor Joshua Dennis (Belmonte)..." 

Dean M. Shapiro - The New Orleans Advocate

Soprano Soloist in Elijah - True Concord Voices and Orchestra

“Phillips’ clarion soprano hung delicately in the air…” -

Cathalena Burch, Arizona Daily Star

Giulio Gari International Vocal Competition Winner’s Concert

“Heather Phillips sang 'Depuis le Jour' from Charpentier’s “Louise” on a thread of spun gold, her lustrous
soprano evoking the colors of Paris.”

- Nino Pantano, Brooklyn Daily Eagle

Nannetta in Falstaff at Arizona Opera

“Soaring sopranos…with standout performances by Karen Slack as Alice and Heather Phillips as her daughter Nannetta”

- Kerry Lengel, The Arizona Republic

Elvira in L'Italiana in Algeri with Lyric Opera of Kansas City

“Heather Phillips was a hand-wringing Elvira, her joyous soprano ringing over the ensemble pieces...”

- Libby Hanssen, Kansas City Star

Zerlina in Don Giovanni with Opera Southwest

“… Heather Phillips as the naïve Zerlina is full of playful comic romance. One of the highlights of the first act,
her conciliation aria, though, makes us believe she’s not quite as innocent as we might first think.”

- D. S. Crafts, Albuquerque Journal

Lotte Lenya Competition Finals Concert

“Heather Phillips ranges her stentorian soprano from Puccini's "O mio babbino caro" to "Gimme, Gimme,"
Tesori's Thoroughly Modern Millie showstopper.”

- Barry Singer, Opera News

Micaëla in Carmen with Kentucky Opera
“Soprano Heather Phillips, who sings the part of Micaëla , the peasant girl who might have save Don Jose
from himself, is simply glorious.”

- Scott Dowd, Arts Louisville

“Soprano Heather Phillips brings a glistening performance of Micaëla to the stage of the Brown Theatre…” 

Elizabeth Kramer, Louisville Courrier-Journal

Helena in A Midsummer Night's Dream at Aspen Opera Theatre

“The opera requires a large cast...Berkeley and his associates assembled a solid ensemble...several deserved
note, including...soprano Heather Phillips, who was effective as Helena.”

- Kyle MacMillan, Opera News

Soprano Soloist, Poulenc’s Gloria - Kansas City

“The soprano soloist was Heather Phillips, fresh off her assignment as the coquettish Barbarina in the Lyric
Opera’s recent Marriage of Figaro. Her clear timbre carried easily over the ensembles, yet were delicate and
nuanced when appropriate…She was especially arresting in the exposed vocal solos, carrying off with aplomb
the soaring, uncomfortably high melodies that have derailed many other sopranos.”

-Don Dagenais for KC Metropolis 

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