“Cooper’s voice is sublime—powerful, subtle and memorable.”
“Adina is a particularly interesting character… Sarah Joyce Cooper delivers this marathon of a role as though it was written for her, with a rich and robust tone.” - Mount Desert Islander
“Sarah Joyce Cooper made for a wonderfully coquettish Adina, and she made the undoubtedly difficult vocal writing sound insanely easy throughout the whole run… Nemorino… had incredible chemistry with Cooper.” - Schmopera
“Cooper’s Violetta is alluring and sensual, a woman who declares at one point, “Life is just pleasure.” Cooper’s voice is sublime—powerful, subtle and memorable.” - Don & Catharine Bryan Cultural Series
“Cooper’s meltingly beautiful soprano shimmered to perfection...”
“Sarah Joyce Cooper’s rich intensity suited Anne; her shining moment arrived when she literally let her hair down for her final aria, “Unadorned.” Her unfettered voice and comfort in her own home felt radical, intimate, and glorious. Brava.” - Boston Musical Intelligencer
“But his Adina, Sarah Joyce Cooper, is something else again, her voice sizable and beautifully produced, the high notes never shrill, the low ones full-bodied, the occasional trill limpid and unforced. She sings with a passionate power that should soon lead her to the roles of Verdi… Moreover, she is a pretty woman and a charming actress.” - Parterre Box
“Sarah Joyce Cooper closed the first half with a thrilling performance of “Sempre libera,” offering a bright, crisp sound and fluttering coloratura.” - New York Classical Review
“Soprano Sarah Joyce Cooper took the lead as Marzelline in an Act I stretch of Beethoven’s Fidelio, spinning “O wär ich schon” with an attractive coloratura—light, agile, with a streak of soft metal… Bowers and Cooper then teamed up for the opening of Donizetti’s Don Pasquale, her Norina confident and insouciant, dexterously tossing off cascades and cadenzas his Malatesta an unflappable, enthusiastic schemer, the pair singing and mugging with equal ebullience…” - Washington Classical Review
“Cooper’s soprano came across with warmth, security, and appropriate attitude.” - Boston Musical Intelligencer
“… her warm voice navigated the turns in the text beautifully, particularly in aforementioned the value of a bird” - Schmopera
“Sarah Joyce Cooper’s “Depuis le jour” was delicately sung with a wide-eyed vulnerability and a silver tone, followed by her delightful rendition of the spiritual “His Name So Sweet.” … This was followed by Cooper once again displaying her mastery of French style in Louis Beydts’ “La colombe poignardée.”” - Opera News
"Soprano Sarah Cooper performed the role of Micaëla and grew in stature such that her third act aria "Je dis que rien ne m'épouvante" brought down the house." - Voce di Meche
"Werley and the lovely soprano Sarah Cooper were so perfectly matched in every way that it was impossible not to root for their union—another unusual aspect of this production. Cooper’s meltingly beautiful soprano shimmered to perfection in “Je dis que rien ne m’épouvante,” and she and Werley shared genuine warmth and affection in their Act I duet." - Opera News
“Sarah Cooper in the role of Violetta was transcendent as the beautiful courtesan who discovers that there is love. The interplay between Cooper and Selby was magnificent with their voices playing off each other wonderfully. It created a magical night of theater.” - Brindley Beach
“Sarah Cooper’s Zerlina provided some much-needed levity and playfulness to the show, especially in her interactions with Masetto.” - Schmopera
“Sarah Cooper was a winsome yet worldly-enough Zerlina, bound to John Bitsas’s unusually dapper Masetto with convincing chemistry.” - Boston Musical Intelligencer
In the final movement, “Sehr behaglich,” Cooper entered with a bright, clear soprano that carried easily over the orchestra. Her voice brought childlike sincerity to the text, which describes the joys of heaven… Cooper’s diction was clear as she blended smoothly with the orchestra, creating the impression of a conversation rather than a solo feature. The ending — a slow descent into quiet — left the theater suspended in silence.
Just as Cortese had predicted, no one moved after the last note faded. For several seconds, Sanders Theatre was completely still. Then, as if released from the spell of the music, the audience rose to their feet in a long — and deserved — standing ovation. Cortese bowed three times as the applause continued for more than five minutes. - The Harvard Crimson