Ouroboros Trilogy: Naga, Madame White Snake and Gilgamesh
"Soprano Heather Buck sang sweetly, especially in her opening ode to the fertility-granting pomegranate tree."
— Joanne Sydney Lessner,
White Snake Walking – Don’t Tread on Her!
"Rounding out the principals are soprano Heather Buck, whose pure and versatile vocalism brought just the right poignancy to the role of the tragic wife in Gilgamesh."
— Charles Geyer,
La Scena Musicale
Trilogy Thrills, Madame White Snake Still Shines
"Buck later made us feel the joy of her character that waited so long to be with child—the love for the unborn was in each note—into singing through her labor and the subsequent taking of her child. She pulled us into the role."
— Justin Casinghino,
Boston Musical Intelligencer
Enchanted ‘Ouroboros’ trilogy explores eternal mysteries
"Heather Buck ... sang with sparkling lyricism in her rapturous Act I aria, and visceral desperation as she gave birth and had her child stolen at the end."
— Zoë Madonna,
Spoleto, at the age of 40, is still cutting edge after all these years
"Two sopranos, Heather Buck and Yuko Kakuta, gave exceptional performances of difficult material."
— James L. Paulk,
The Little Match Girl - Spoleto Festival USA
"Sopranos Heather Buck and Yuko Kakuta handled their bric-a-brack vocal duties with aplomb. All are worthy of praise, and Buck and Kakuta were quite mesmerizing to watch as they wailed, hiccuped, and made strange guttural noises that, in polite society, would have a person labelled a cretin at best and a madman at worst."
— Chris Haire,
Charleston City Paper
Spoleto Festival Premieres Follow Somber Reflection
"The sopranos Heather Buck and Yuko Kakuta were similarly adept in their vocal gymnastics, producing all manner of grunts, clicks and pops."
— James R. Oestreich,
New York Times
‘Little Match Girl’ an immersive (unorthodox) sonic experience
"The two solo sopranos, Heather Buck and Yuko Kakuta, convey an electric sense of musical action as they throw sounds back and forth between each other and to members of the Westminster Choir and the Spoleto orchestra. The sopranos’ technical and musical facility is stunning, their musical gestures are those of chamber musicians."
— Jonathan Neufeld,
Post and Courier
Florentine Opera delivers involving 'Wuthering Heights' concert
“Soprano Heather Buck moved from light, facile passage work to soaring power in the role of Isabel Linton.”
— Elaine Schmidt,
The Moors Are Calling
“Heather Buck brings passionate colors to Isabella’s rapturous Act Three aria.”
— Paul Kosidowski,
Holiday Concert - Ridgefield Symphony Orchestra
“Heather Buck, dressed in a lovely floor-length gown and with an expressive stage presence, shifted the mood from holiday fun to celebratory reverence with a beautiful performance of Mozart’s ‘Exultate, Jubilate’. With moods ranging from lyrical solemnity to exuberant joy, and replete with dazzling vocal pyrotechnics, Mozart’s music provides a worthy soprano with both an expressive opportunity and a vocal challenge; and Ms. Buck’s strong and even vocal support, flexible expressiveness, and impressive coloratura agility both met the challenge and projected the score’s expressive flow.”
— Courtenay Caublé,
'Miss Havisham's Wedding Night,' 'A Water Bird Talk' shine with their soloists
“The role is choice and challenging. Soprano Heather Buck was equal to the task, sustaining the 40-minute stretch with impressive stamina and stage presence.”
— Matthew Guerrieri,
With Argento double bill, Odyssey Opera takes two strange personal journeys
“Soprano Heather Buck delivered a convincing and hair-raising performance. Her voice is gleaming from top to bottom.... Buck met every demand fearlessly. Particularly commendable were her floated high notes and the fluency with which she handled Argento’s florid writing.”
— Angelo Mao,
Boston Classical Review
Nashville Opera delivers lush, lively 'La Boheme'
“Baritone Craig Verm also impresses as the jealous Marcello, and Heather Buck brings a sense of fun and frivolity to Musetta. Beyond their significant vocal contributions, both manage to balance the story’s unusual mix of light comedy and dark drama in believable fashion.”
— Amy Stumpfl,
Orff's Carmina Burana Gets Powerful, Primal Performance by the NC Symphony
“When Buck finally got to sing, it was well worth the wait. For my money, she is as perfect a soprano voice as I have heard. In her final passage she enters from silence to sing an interval to a high C that should be studied by every vocalist. No swooping, swerving, or hesitancy; just a stunningly perfect arrival on a beautiful pure tone!”
— Jeffrey Rossman,
Classical Voice of North Carolina
Review: Greek myth morphs to stage in Pittsburgh Opera's production of 'Orphee'
“Heather Buck made the most of the soaring musical lines Glass wrote for The Princess, particularly in the second act.”
— Mark Kanny,
'Orphee' an opera worth repeating
“The Princess, portrayed by Heather Buck, making her Pittsburgh Opera debut … was a commanding presence and successfully captured the character’s seductive nature.”
— Elizabeth Bloom,
Brokeback Mountain, Teatro Real, Madrid
“Heather Buck … create[s a] telling portrait as Alma (Ennis’s wife).”
— John Allison,
The Telegraph (UK)
Lyrical Cowboys in Love, on Stage
“The opera gives Alma, Ennis’s wife, an introductory scene that is not in the story or the film. We see her bright and hopeful as she shops for a wedding dress with her mother and spends more than the meager family budget allows. As sung by the radiant soprano Heather Buck, Alma is an impulsive young woman who thinks the sullen Ennis may actually be her means of escaping ranch life and living properly in town. But she is not dumb, as she tells Ennis during a horrible fight, and comes to know the truth about him.”
— Anthony Tommasini,
New York Times
“The vocal ensemble is very well-cast, with stellar performances by Daniel Okulich [as Ennis] and Heather Buck [as Alma].”
— Juan Ángel Vela del Campo,
Virginia Opera's 'Magic Flute' a delight at GMU
“As the Queen of the Night, Mozart’s classic villainess, soprano Heather Buck whose singing we admired in the company’s production of Bizet’s ‘Pearl Fishers’ last season, navigated her character’s famously treacherous showpiece aria with fluidity. Brava!”
— Terry Ponick,
Music, not story, remains true treat of 'Magic Flute'
"Heather Buck, in her role as the Queen of the Night, is the standout in the Virginia Opera production of ‘The Magic Flute,’ but other performers shine as well.... Make no mistake: From soprano Heather Buck’s two ethereal Queen of the Night arias laced with coloratura filigree to a slew of bouncy tunes that merit a place on any operatic hit parade, stage director Michael Shell’s production is a supersized treat for the ear."
— Roy Proctor,
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,