"An extract from "Armida," featuring the appealing soprano Sarah Chalfy, stood in for yet another side of Haydn: the opera composer...Ms. Chalfy dispatched the obligatory coloratura runs of the aria "Se pietade avete, o numi" with precision, but was most affecting the preceding recitative, where her natural dramatic bent and command of tone color lent expression to each word."

- Corinna da Fonseca-Wollheim, The New York Times

“Chalfy’s rich soprano gives voice to the passion her character cannot express in her spoken words…(She) brings a touch of wryness to her role. Her Artemisia is ironic and confident, ready to puncture the puffery of the world, sparing not even herself…Sandrow’s play and Chalfy’s performance are a welcome restoration of an important artist who has recently suffered more from adulation than from detraction.”

- Peter Wood, First Things

"Soprano Sarah Chalfy has a beautiful, rich and resonant voice and gave an extraordinary performance."

- Mark Greenfest, soundwordsight.com

"In the concert aria “Ch’io mi scordi di te” (K. 505), and again in “Exsultate, Jubilate,” the soprano Sarah Chalfy sang with a clear, pealing tone; agility; and abundant spirit."

- Steve Smith, The New York Times

"Vocal soloist Sarah Chalfy is a renowned artist in both the Broadway and the classical music worlds; her theatrical approach to the arias of Mozart and Haydn delights audiences with dramatic passion of her acting ability matched with her superb soprano coloratura."

Gotham Early Music Scene, NY

"As soon as Sarah Chalfy strides onstage all is forgiven. Her plucky and ambitious—but never shrill—Bly immediately charms Joseph Pulitzer (the hilariously gruff John Patrick Lowrie) into hiring New York's first girl reporter: "I can do what no male reporter can do. I can be underestimated!" It's a gloss over Bly's real-life exploits, of course, but it's a charming gloss."

The Stranger

"Nellie Bly is played like a spunky, sexy spark-plug by Bellevue native Sarah Chalfy. Making her Village Theatre debut, Chalfy absolutely nails Nellie. She busts out the comic chops and musical theater moxie while revealing that the lady's demon-like drive to defy the odds and one-up the men often left Bly with a bruised and broken heart." 

-North County Outlook

"Sarah [Chalfy]'s Guenevere was an ideal partner to Markuson's Arthur, her singing and acting talents matching his. Bringing an appealing girlish charm to her earlier scenes, [Chalfy] later conveyed a believable mature affection for the king and a conflicted longing for Lancelot. In her singing of "The Simple Joys of Maidenhood," "The Lusty Month of May," and "Before I Gaze at You Again," [Chalfy]'s clear expressive soprano and superb diction reminded me of Julie Andrews, the original Guenevere on Broadway in 1960."

-Baltimore Sun

"The actress sang better than any Marian I've heard, adding luster to the familiar songs. Her "Goodnight My Someone" was a touching blend of lullaby and love song. [Chalfy] is a skilled actress who created a prim, no-nonsense librarian suspicious of Hill and increasingly frustrated by her attraction to him...The climactic "Till There Was You" duet was a showstopper, with [Chalfy] matching Maggette to produce a gorgeous sound."

-Baltimore Sun

"It's difficult to assess the performances, other than to say the quartet, sopranos Chalfy and Kay in particular, have fine voices. Their wry smiles and demonic, unblinking stares into the audience fit the music's tone."


(for Richard Foreman/Michael Gordon's What to Wear)

*I just had to include this one because it's amusing