This Is Your Brain on Opera
“The parts of the mothers were sung by Ms. Buck with a warm, polished tone that added much-needed plasticity to the vocal lines as they alternated between jagged intervals and hypnotic monotony.”
— Corinna da Fonseca-Wollheim,
New York Times
Soprano Heather Buck sings in Jonathan Berger's opera "Theotokia"
"... a superlative cast. Soprano Heather Buck was joined by the four members of New York Polyphony … to bring lustrous vocal life to the entire evening.”
— Joshua Kosman,
San Francisco Chronicle
Theater for the unfocused mind
“The singers were impressive. Buck proved a commanding presence as the Yeti Mother and as one of Paul's inner voices.”
— Mark Swed,
Los Angeles Times
Jonathan Berger operas probe troubled minds
“Both productions featured the considerable talents of soprano Heather Buck.… The vocalists were exemplary. Buck, singing with heat and luster, was an asset in both operas.”
— Georgia Rowe,
Opera Naples masters 'Midsummer Night's Dream' with creativity, talent
“Heather Buck as his queen, Tytania, has glorious coloratura and a regal presence.”
— Harriet Howard Heithaus,
Opera review: 'The Pearl Fishers'
“Soprano Heather Buck … as the Brahman priestess, sings like an angel.”
— Roy Proctor,
Review: 'The Pearl Fishers'
“Heather Buck. The soprano who sang the role of La Princesse in last season’s Virginia Opera production of Philip Glass’ ‘Orphée,’ returns as Leila, displaying a bright and flexible coloratura and deftly reconciling the character’s stylized priestess persona with the passionate woman within.”
— Clarke Bustard,
Virginia Opera's 'The Pearl Fishers' may signal a turn to the conventional
“What this production had going for it was an excellent soprano at the top of the cast. Heather Buck, who gave a sexy, icy sheen to the role of La Princesse in last winter’s outstanding production of Philip Glass’s ‘Orphee,’ had an alluring presence and glimmering voice as Leila, the priestess who comes between two friends on the shores of ancient Ceylon. With pure, high notes even at pianissimo, beautifully controlled breath support and unobtrusive vibrato, Buck gracefully dispatched the trills and coloratura of the showpiece ‘O Dieu Brahma,’ at the end of Act I.”
— Charles T. Downey,
Virginia Opera's 'The Pearl Fishers' at GMU
“The only thing more beautiful than the melody is the priestess Leila. … The purity of her voice alone is enough to make the men fall in love with her. Heather Buck’s amazing high notes seemed to reach the stars, twinkle, and then come back down to heaven on earth.”
— Mark Beachy,
MD Theatre Guide
Strong cast does justice to classic
“As Leila, soprano Heather Buck was captivating when she first appeared in a stunning red costume. Her singing soon matched the visual delight. Her lovely timbre floated easily up to high notes and through extensive embellishment. If Bizet’s writing made her at times oddly coquettish, she also had more serious moments in which the depth of her emotion was clearly felt. Her story-telling in the second act was but one example of her expressive talent.”
— The Virginian-Pilot
At Monadnock, two comic operas based on Chekhov's fiction
“The score uses three singers (soprano, baritone, and tenor) with a Mozartian chamber orchestra that pokes fun at Mozart, Puccini, and romantic operatic cliches, but also plays extensive lyrical passages. As Tamara, Buck shifted between grand lady and coquette with aplomb. Her numerous ensembles … crackled with emotional and musical tension.”
— Harlow Robinson,
Brilliant Booby and Boor from Rose
“James Maddalena, as the Boor, was in fine voice, as was Heather Buck, as the Widow Tamara.... In one of the most winning moments among many in this opera, there is a charming duet between Maddalena and Buck, a back-and-forth between lush lyricism (in dim light) suggesting their increasing warmth toward to each other.”
— Bettina A. Norton,
Boston Musical Intelligencer
N.C. Symphony, Master Chorale end season with spectacle
"Soprano Heather Buck floated through the sensuous filigree assigned her, successfully nailing the cruelly exposed high notes."
— Roy C. Dicks,
News & Observer
Glass' ORPHÉE - Virginia Opera
"As La Princesse, Heather Buck was a powerful presence. ... Her expressive fire proved gripping, especially in the conflicts of Act II, when the character's hold on Orphée began to fail."
— Tim Smith,
Opera revels in mystery
"The two leading women - Sara Jakubiak as Eurydice and Heather Buck as La Princesse - bend their supple sopranos to their characters' often-anguished demands."
— Roy Proctor,
"The cast, from the principals - Matthew Worth (Orpheus), Sara Jakubiak (Eurydice), Heather Buck (the Princess) and Jeffrey Lentz (Heurtebise, the princess' chauffeur) - to those singing the briefest supporting roles, is uniformly strong and gratifyingly nuanced in both voice and character. Jakubiak and Buck are ... riveting, as both singers and actors."
— Clarke Bustard,
Virginia Opera captures spirit of Philip Glass' 'Orphee'
"As La Princesse, Heather Buck projected powerfully.... She rose to the emotional peaks in Act 2 affectingly, making this curious character all the more sympathetic."
— Tim Smith,
Virginia Opera's robust staging of Philip Glass' 'Orphee'
"But perhaps the finest and most interesting performance of the evening was turned in by fellow soprano Heather Buck who starred in the central role of the Princess, aka Death. Regal, elegant, and haughty to the extreme, Buck's Princess gradually melts as she admits her undying-and forbidden-love for Orpheus. Buck's soaring near-soliloquy near the end of the second act is a high point in Glass' otherwise spare score, and she delivered it with great vocal depth and conviction."
— Terry Ponick,
Virginia Opera Does It Again
"Much of this cast's magic is due to the regal presence, vocally and dramatically, of soprano Heather Buck as La Princesse. We last reviewed her as a venomous Queen of the Night in an odd Magic Flute at Santa Fe Opera, and the same icy strengths were assets here as the bewitching figure of death, both loving and terrifying."
— Charles T. Downey,
Opera's 'Orphée' powerful, haunting
"The large cast had no weaknesses.... Buck, in particular, was movingly intense at the end of the opera when her character surrenders Orphée and returns him to his life."
— Paul Sayegh,
Opera Boston serves up a breezy and delightful "Beatrice et Benedict"
"The reluctant lovers are juxtaposed by their betrothed friends, Héro (sung beautifully by soprano Heather Buck) and Claudio (baritone David McFerrin). Buck's expressive Je vais le voir provided a highlight of the evening."
— Keith Powers,
Boston Classical Reivew
Review: Elmer Gantry
"Heather Buck sings sweetly as Lulu."
— Ronni Reich,
New Jersey Star-Ledger
The Other Mendelssohn Finds a New Champion
"The soprano Heather Buck was the strongest of the four vocal soloists."
— Vivien Schweitzer,
New York Times
Minor flaws fail to erode charm of 'Ariadne'
"The large and talented cast literally offers a voice for every taste, from the Wagnerian majesty of soprano Barbara Quintiliani in the title role and tenor Michael Hayes as Bacchus, her love and salvation, to the Mozartian effervescence of soprano Heather Buck as Zerbinetta and tenor Mathew Edwardsen as the dance master.
"Never mind soprano Buck's amazing vocal gymnastics and dancing in her aria, one of the most famed in all of opera."
— Sally Vallongo,
Proserpina, Spoleto Festival USA
"For fiercely controlled passion, one had to hear the terrific feat of singing by soprano Heather Buck in Spoleto's U.S. premiere of Wolfgang Rihm's Proserpina.... For seventy minutes, Buck lamented Proserpina's fate in melodic lines that rose and fell without knitting together into melodies."
— Opera News
Proserpina's Loss of Innocence Explored
"Heather Buck fully inhabited the character of Proserpina, in all her complexity. At times she paced the room like an estranged upper-class housewife, at others she widened her eyes like an innocent, only to reveal her femme fatale schemes. She also demonstrated a wide a range of emotion vocally, from melismatic desperation to shrieks of rage, executing the score’s unruly melodic patterns with precision.Heather Buck fully inhabited the character of Proserpina, in all her complexity. At times she paced the room like an estranged upper-class housewife, at others she widened her eyes like an innocent, only to reveal her femme fatale schemes. She also demonstrated a wide a range of emotion vocally, from melismatic desperation to shrieks of rage, executing the score's unruly melodic patterns with precision."
— Rebecca Schmid,
Passion and Precision
"Listening to Heather Buck perform the American premiere of Wolfgang Rihm's ‘Proserpina' Sunday at Spoleto Festival USA, one could only marvel. This spectacular 2009 monodrama for soprano, chamber orchestra and women's chorus is a vocal roller coaster, just over an hour long, in which the soprano never gets a moment's break. Its musical language suggests both the extreme modernism of Stockhausen and the lushness of Strauss. The notes come from everywhere, yet while it is never conventionally melodic, it has a profound emotional logic and intensity. Ms. Buck's performance embraced those extremes, and her crystalline soprano's absolute precision was all about passion."
— Heidi Waleson,
Wall Street Journal
"The U.S. premiere of Wolfgang Rihm's one-woman opera with chorus, Proserpina, is a remarkable tour-de-force vehicle for soprano Heather Buck. Buck, who did not follow a conventional path into opera but whose singing is nevertheless stunningly flawless, is a perfect fit for Rihm's piece. Like this contemporary composer's music, her artistry fulfills us in unexpected and unforeseen ways. She brings an intense lyrical sensuality to this role that might otherwise come off as a sterile exercise in atonal vocalise. It is evident that Buck has internalized this piece and has become one with it." Read More...
— Fernando Rivas,
Charleston City Paper
"I've never seen a singer command the stage the way Heather Buck does in 'Proserpina' at the Spoleto Festival USA.... Every minute she was onstage, she was a compelling figure." Read More...
— Charlotte Observer
At Spoleto, a Departing Director and a Premiere
"The work is a tour de force for soprano — in this case, Heather Buck... the evening belonged to Ms. Buck, who sang beautifully in the plush melodies at the start and adapted expertly to increasing angularity and high-flying acrobatics as Proserpina's plight grew dire. Mr. Schmoll's spare production, with a set and modern-dress costumes designed by Marsha Ginsberg, provided Ms. Buck with a mostly blank slate, and she was equally compelling as a sheer stage presence, whether self-absorbed or interacting with the chorus and even the orchestra."
— James R. Oestreich,
New York Times