As Gemmira, Sierra's lithe soprano masterfully soared with tones of exceptional grace to deliver pathos and delicacy truly worthy of Rome's most beautiful woman. Paul du Quenoy, Musical America (October, 2016)

Soprano Nadine Sierra gave a standout house debut as the playful but sinister Cupid, bringing lush ornamentation to her Act One aria "Gli squardi trattieni". Rebecca Schmid, Financial Times (March 2016)

The performance on December 8 had a potent advantage in the Gilda of Nadine Sierra, who had made her Met debut six days earlier. Sierra's lovely, limpid tone and delicate phrasing proved ideal for the naive, sheltered girl, as did her lithe, slightly fragile appearance. Her 'Tutte le feste al tempio'… was especially poignant. George Loomis, Opera (March 2016)

For her Met debut on Wednesday night, the Fort Lauderdale native gave an excellent performance as Gilda, a vocal and dramatic achievement that showed she is an artist ready for a significant career with this company.… She sings with remarkable ease, no matter where she is in her range or what effect she is trying to achieve: the beautiful flow of her middle voice was matched by accurate, graceful high notes, none of them ever grabbed or forced. Her buoyant, gleeful account of the headline aria “Caro nome” earned an extended ovation, as she showed beguiling coloratura and threw in graceful ornamentation high above the staff. One high, misty pianissimo lingered for six seconds at least, never showing any signs of wavering or breaking. Eric C. Simpson, New York Classical Review (December 2015)

A full helping of musical elegance, marked by crystalline tone and deftly placed passagework. Joshua Kosman, San Francisco Chronicle (October 2015)

Soprano Nadine Sierra assumed the title role and delivered a mad scene that simply brought down the house. Georgia Rowe, San Jose Mercury News (October 2015)

Sierra’s sound is silvery and brilliant. 'Dove sono I bei momenti' showed off the exquisite control she has over her voice. San Francisco Classical Voice

Soprano Nadine Sierra brought a glossy voice and expressive intensity to her solo opportunities. The Fort Lauderdale native’s career is starting to take off. David Fleshler, The Miami Herald (March 2015)

Nadine Sierra sang Gilda with wide-eyed innocence, lucid phrasing, and a sweetness of tone that won over this opening night crowd in a big way. Jeremy Eichler, The Boston Globe (March 2014)

Nadine Sierra displayed a supple soprano and elegant stage presence, giving the role of Gilda the personality of the sweet girl next door. Her ‘Caro nome’ sounded effortless and graceful. Aaron Keebaugh, Boston Classical Review (March 2014)

Nadine Sierra sings with a marvelous lightness, youthful in timbre if mature in body, flexibility, and assurance. Gavin Borchert, Seattle Weekly (January 2014)

In her Seattle Opera debut, Nadine Sierra perfectly embodies Rigoletto’s innocent daughter, Gilda. On opening night, Sierra displayed a soaring, crystalline soprano, effortlessly swirling up and down through Verdi’s coloratura, most impressively while lying on her back during her aria ‘Caro Nome.' Maggie Larrick, Queen Anne News (January 2014)

But no one else matched the art of transition displayed by American soprano Nadine Sierra, making her Seattle Opera debut as Gilda. [...] Sierra — and you’ll most definitely want to pay attention to her name — has an alluring, immediately identifiable voice that encompasses dark-hued deep notes as well as spectacularly spun, floating light notes at the very top of her range. And that’s only a starting point for Sierra: her remarkable control allows her to venture an exciting variety in her phrasing. Thomas May, Memeteria (January 2014)

In her company debut, Nadine Sierra played Pamina with earnest expression and depth of character. With her fluid soprano ringing in the hall at all dynamic levels, she sculpted her arias in beautiful phrases.
Grace Jean, The Washington Post (December 2013)

So pure and resplendent were the extraordinary soloists in this production that soprano Nadine Sierra and countertenor Anthony Roth Costanzo might have made Rossini weep, too. At times, when they sang together, because of their mastery of the music and the caliber of their voices, they sounded even greater than two voices. It is no easy feat to sing and move onstage for a solid hour and both made it look and sound effortless as if they’d be born to perform this work. Gale Martin, Bachtrack (July 2013)

There was no way to listen to soprano Nadine Sierra's superb Schwabacher Debut Recital on Sunday and feel anything but awe and delight - a combination of admiration for her current gifts and eager anticipation at what the future surely holds for her. The first thing you notice is the distinctive coloration of her voice, a blend of dark chest tones and vibrant, clearly ringing high notes…Other gifts emerged later, including an arresting attention to expressive detail and reliable but free rhythmic control. Joshua Kosman, San Francisco Chronicle (February 2013)

Nadine Sierra, who was a superb Gilda in FGO’s production of Rigoletto last season, has a radiant voice and a sure sense of theater, seeming to enter into the emotional life of whatever character she is portraying, if only for a single aria. David Fleshler, South Florida Classical Review (January 2013)

Sierra, a lovely, dewy-eyed Floridian, made a memorable FGO debut with a purity of tone that echoed her character's persona. She not only demonstrated a technical command, but also an ability to project to the back of the hall, even when she faced away from the audience. Bill Hirschman, Sun–Sentinel (January 2012)

Nadine Sierra [...] is something special even in this world of very good sopranos. Jeff Haller, ConcertoNet.com (January 2012)

Fort Lauderdale native Nadine Sierra, a young soprano who is starting to make her mark on the larger operatic world, was an affecting Euridice. Her voice is a bright, weighted instrument, and she brought effortless personality to the stage, bringing out the emotions of the role, from the anguish in her eyes as Orfeo refuses to look at her to the joy of their reunion. Her long dramatic scene with Costanzo was a sonic show-stopper with a blending of two first-class voices. David Fleshler, South Florida Classical Review (January 2011)