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“Hickman sang Il est doux, Il est bon from Massenet’s HERODIADE with the superb authority and glorious free
steady sound of a young Eileen Farrel, rising above the intrusive brass band from the harbour as if it had not been
there." |
The Globe and Mail – Ken Winters |
| “Hickman has a voice like a steady flame that burns into the heart of a listener.” |
National Post – Brian Hunt
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"The solo quartet, soprano Cheryl Hickman, mezzo-soprano Marcia Swanston, tenor Kurt Lehmann and Relyea each
get something of a solo, and in ensemble — which includes cadenza-like passages for each — sort out the tangled,
introverted, gloriously resolved counterpoint, climaxing with Hickman’s stratospheric high B-flat — for which she
took a deep breath and, like Paul Bunyan swinging an axe, attacked the mountain of sound around her with an edge
of fire and ice." |
The Chronicle Herald - Stephen Pedersen
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"Cheryl Hickman brought enormous depth and empathy to the role with an effortlessly fluid soprano that created some of the most
beguiling vocal sonorities of the evening." |
Opera Canada
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“…that rare breed of dramatic soprano with an exceptionally beautiful middle voice…requisite cutting edge essential
for a future in Wagner and Strauss.” |
La Scena Musicale – Joseph So
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“Cheryl Hickman brought an impressively rich, firm soprano to Lena’s music, imbuing it with more character and
authority than the libretto suggests.” |
Opera News – John W. Freeman
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“As Lena Cheryl Hickman used her large, well focused voice to project the emotions of her character and to regale
the audience with beauty of her tonal colors.” |
Opera Japonica
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“Cheryl Hickman (the Mother and the Witch) was highly successful, her multifaceted evil qualities believable in
context, her ringing soprano making its mark when necessary.” |
National Post – Kenneth DeLong
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“While not over the top, like some witches I have seen, Cheryl Hickman was perfectly wonderful. Her acting was
nuanced and authoritative and her voice soared effortlessly through both demanding roles.” |
Calgary Herald
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“Hickman’s role as one of Augusta’s cronies (Mary) was too small to relish her great gifts. Many of us predict that
Hickman is a major Wagnerian soprano in the making.”
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La Scena – Philip Anson
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| “Cheryl Hickman sang with beautiful tone, dead-on pitch and great musicality.” |
New York Times – Anthony Tommasini
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| “ the most glorious singing of the night belonged to Cheryl Hickman.” |
(Carmen, Pacific Opera Victoria)
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| "Though Cinderella and the prince, sung by Margaret Lattimore and Matthew Chellis, are portrayed beautifully, their performances are overshadowed--as is often the case in Cinderella--by the character actors. Brett Polegato, Taras Kulish, Cheryl Hickman and Mia Lennox-Williams (Dandini, Don Magnifico, Clorinda and Tisbe, respectively) are able to use their vocal skills to create really outlandish caricatures who successfully restore the fairy tale's whimsy. Indeed some of the best moments of the production are a result of Dandini's ability to bait the antagonists while conspiring with the audience. Awkwardly prancing around the stage in their petticoats, the overly made-up sisters create a truly loathsome pair, only outdone by their despicable father." |
The Gauntlett - Rachel Betts-Wilmott
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| "The comic roles of the father (Taras Kulish) and the two stepsisters (Cheryl Hickman and Mia Lennox-Williams) were also well sung and acted. The antics of the sisters made for very good comedy indeed, and the singing of both parts was pert and attractive." |
Opera Canada - Kenneth DeLong
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