“[Nicole Cabell] possesses a lovely voice of astonishing agility and triumphed over the wide intervals and precipitous leaps from the top and bottom of the opera’s taxing soprano range. Her rendition of the great second act aria ​‘Per pietà, ben mio, perdona’ (‘Ah my love, forgive my madness’), gently serenaded by a haunting horn obbligato, was in turn fiercely declamatory and meltingly tender. It served as a showstopping example of her virtuosity.”

“First among equals was the electrifying Nicole Cabell, a Donna Elvira for the ages in terms of vocal quality and temperament. From her first appearance to the final quintet, she not only sang with an attractive, chestnut-colored tone but pitched every note with absolute assurance, and showed no difficulty with florid passagework”

“Also excellent was Nicole Cabell, whose supple and creamy coloratura soprano voice pirouetted effortlessly through the melismatic vocal role of Juliette”

“Nicole Cabell sings Mary, and hers is a voice as fine as any I’ve ever heard on the OTSL stage-pure, clear, strong and beautiful. And she has superb diction. (Her final consonants ping like BBs.) She fills the role with love and with pain. It was wonderful just being so close to such a talent.”

‘Nicole Cabell ​’s Bess […] emerges, surely intentionally, as the most ambivalent character. She’s the Carmen figure, elusive and tantalising, and Cabell floats some lovely pianissimo high notes in her solos.’

“Nicole Cabell gave nobility and vocal richness to the role of Gemmira”

“Nicole Cabell brings her signature warm, amber-hued timbre to the Countess, demonstrating sincere melancholy in the arias and breathing life into the recitatives. Her miraculous intonation in ​“Porgi amor” retained a sublime moment, and ​“Dove sono” was moving and sung with true legato. The emotion was palpable, especially in the pianissimi.”

“Cabell sang and acted an impassioned Mimì, her big lyric soprano voice soaring when soaring was needed”

“His ill-fated amour, Mimi, was given an engaging portrayal by Nicole Cabell, who employed a rich and subtle soprano voice throughout her ample range.”

“Nicole Cabell gave a fabulous performance in the title role. For a start, she looked superb, thanks to her height and imperious elegance…Cabell also proved an actress of substance, giving precise and unexaggerated expression to the sorceress’s wide-ranging emotions as she found her powers of attraction gradually waning. Above all her singing was admirable, even if it did not conform to the aesthetic that has come to typify Baroque opera: her tone was rounded and silky, projected with ease, immaculately controlled and finely nuanced.”

“Nicole Cabell’s Alcina was by far the superlative element of the evening: she is ready to make sacrifices to prove her love for Ruggiero, weeping in ​“Ah mio cor”, her voice carries the text as well as the emotion like no other performer on the stage. Her gaze ignites the stage and fully embodies a woman torn between love and revenge. Her aria ​“Ah Ruggiero crudel…Ombre pallide” was splendid and, despite her powers, Alcina is still a real woman who feels pain and love’s despair”

“In the title role, Nicole Cabell impresses with a smooth timbre throughout her range and a lovely roundness to the voice (particularly convincing in ​“Ah mio cor”).”

“Nicole Cabell interpreted Alcina masterfully…With her velvety voice, she succeeds in inciting sympathy from the audience for the heroine who brings about her own demise.”

“with a gloriously smoky middle register that effortlessly stretches up to the top extension of her voice.”

“Cabell clearly enjoys bringing a bouncy girlishness to Adina, enthusiastically embracing the comic spirit that permeates the production. And Cabell glides smoothly around the outer reaches of her register, as impressively rich in her lower range as in her soaring high notes.”