From the opening notes of soprano Nadine Sierra’s stunning debut album, “There’s a Place for Us” (on Deutsche Grammophon), it is clear that she is a major singer. Barry Bassis - Epoch Times

If words can translate into song, then Nadine Sierra wills exactitudes of emotional beauty. ConcertoNet.com

Cible de tous les regards, la Norina caprine de Nadine Sierra joue avec virtuosité de sa silhouette de rêve, en parfaite osmose avec une jolie voix agile et fruitée... Marie-Aude Roux - Le Monde

La mutine Nadine Sierra montre l’adaptation de son instrument et de sa technique à ce répertoire qu’elle découvre pourtant. Sa voix agile parcourt les vocalises avec une apparente facilité, notamment grâce à des aigus fins et bien projetés. Son timbre fruité aux nombreuses colorations se pare d’un éclat moiré lorsqu’elle accentue sa couverture vocale. Olyrix

Norina, est interprétée, chantée et jouée avec une grâce et un abattage exceptionnels par la nouvelle coqueluche des sopranos légers, Nadine Sierra, très en verve et en voix, avec des aigus scintillants qui rayonnent au-dessus de l’orchestre. Alain Duault - Opera Online

No peco de elogioso si digo desde ahora que el público se ha deleitado con el mejor concierto vocal del 2018. Sierra ofreció un banquete variado tanto de estilos musicales como de su paleta de recursos expresivos, de la gracia de la Julieta de Gounod, a la coquetería de la Musetta de Puccini, al virtuosismo escénico y sonoro de incisos donizettianos, y –en lo que más la había disfrutado en grabaciones– su refinado y muy particular gusto para atender el repertorio mozartiano. Cada inciso fue rico en carácter, su musicalidad seductora y sus fraseos muy sensibles en la amplitud y el control de su fiato. Juan Carlos Reyes - EL UNIVERSAL

"¡Brava, brava!", fue aclamada la soprano Nadine Sierra, en su esperado debut en México con la Orquesta Sinfónica de Minería, que celebra su 40 aniversario. Erika P. Bucio - Reforma

The hype around her concerns many elements. Her style, glamour and personal warmth. Yet it is the voice which exceeds all expectations. Susan Hall - Berkshire Fine Arts

Nadine Sierra lived up to, and easily exceeded, expectations on Sunday when she sang a recital in Dallas at the sold-out Moody Performance Hall. The recital of art songs is an endangered species but thanks to the Dallas Opera’s Robert and Jean Ann Titus Art Song Recital Series, Dallasites are blessed with concerts such as this one. Both Sierra, in a stunning gold lamé dress, and her superb collaborative pianist, Bryan Wagorn were magnificent. Gregory Sullivan Isaacs, Theatre Jones

Without question, the evening belonged to soprano Nadine Sierra, this year’s Tucker Award winner. The first vocal selection of the night was “Caro nome,” Gilda’s aria from Rigoletto—Sierra made a sensational Met debut in this role in 2015, and her interpretation has lost none of its enchanting power. Supple yet focused, her voice glowed at its top and showed hints of smoke lower down. Eric C. Simpson, New York Classical Review

Sierra sang an endearing ‘Caro nome’ from Rigoletto, brimming with joy, pinpoint-accurate coloratura and trills to die for, as well as an impressive ‘Ah, fors’ è lui…Sempre libera’ from La traviata. Singing Violetta may be a dream at this point, but her solid vocal technique and dramatic intensity clearly indicate that the role is in the cards. Sierra exudes style and her three gowns — teal blue, glittering gold and royal purple — coupled with her brilliant singing made her the jewel of the evening. Rick Perdian, Seen and Heard International

Nadine Sierra has a delicate yet full-bodied lyric sound that makes for a spirited Gilda.
(Delos "Rigoletto" recording) ABC News

The result was that she delivered not only “Caro nome” but also the entire role with just the right combination of technical skills and expressive fireworks to make even the most jaded listener sit up and take notice.
(Delos "Rigoletto" recording) Stephen Smoliar, The Rehearsal Studio

Nadine Sierra sings sweetly and nimbly; the sparkle in her voice conveys Gilda’s naiveté. But she is no simpering soubrette: the tone is round and full. You hear in her singing the resoluteness that will lead the girl to her dreadful fate.
(Delos "Rigoletto" recording) Fred Cohn, Opera News

Sierra, a young soprano of great promise, had an intriguing, earthy sound at the bottom, and a pleasing lilt at the top. She was bedecked in a gorgeous mermaid-shaped dress in a dark-ish blue shade. M.L. Rantala, Hyde Park Herald

Sa voix au timbre pur, incisif et délicat, irradie de tendresse dans le médium et se couvre d’or dans les aigus qu’elle laisse flotter aux limites de l’audible. Le fameux « Caro nome » à la fin de l’acte I, cette rêverie amoureuse qui parle de sensualité, démultiplie la ligne ornementale en une envolée de notes parfaitement justes et calibrées, une ligne d’une musicalité raffinée. Dans l’abandon aux pulsions amoureuses, Nadine Sierra dévoile l’infinie tendresse d’une nature angélique, dans le temps suspendu d’un cœur qui tutoie les étoiles.
Marie-Aude Roux, Le Monde, July 2017

The soprano Nadine Sierra brought her bright, agile voice to the role, singing with expressivity and tenderness.

Anthony Tommasini, The New York Times

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)

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)

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)

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 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)

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)

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)