Vocalist - Soprano
Proserpina, Spoleto Festival USA
"For fiercely controlled passion, one had to hear the terrific feat of singing by soprano Heather Buck in Spoleto's U.S. premiere of Wolfgang Rihm's Proserpina.... For seventy minutes, Buck lamented Proserpina's fate in melodic lines that rose and fell without knitting together into melodies."
Opera News
Proserpina's Loss of Innocence Explored
"Heather Buck fully inhabited the character of Proserpina, in all her complexity. At times she paced the room like an estranged upper-class housewife, at others she widened her eyes like an innocent, only to reveal her femme fatale schemes. She also demonstrated a wide a range of emotion vocally, from melismatic desperation to shrieks of rage, executing the score’s unruly melodic patterns with precision.Heather Buck fully inhabited the character of Proserpina, in all her complexity. At times she paced the room like an estranged upper-class housewife, at others she widened her eyes like an innocent, only to reveal her femme fatale schemes. She also demonstrated a wide a range of emotion vocally, from melismatic desperation to shrieks of rage, executing the score's unruly melodic patterns with precision."
Rebecca Schmid, Musical America
Passion and Precision
"Listening to Heather Buck perform the American premiere of Wolfgang Rihm's ‘Proserpina' Sunday at Spoleto Festival USA, one could only marvel. This spectacular 2009 monodrama for soprano, chamber orchestra and women's chorus is a vocal roller coaster, just over an hour long, in which the soprano never gets a moment's break. Its musical language suggests both the extreme modernism of Stockhausen and the lushness of Strauss. The notes come from everywhere, yet while it is never conventionally melodic, it has a profound emotional logic and intensity. Ms. Buck's performance embraced those extremes, and her crystalline soprano's absolute precision was all about passion."
Heidi Waleson, Wall Street Journal
"The U.S. premiere of Wolfgang Rihm's one-woman opera with chorus, Proserpina, is a remarkable tour-de-force vehicle for soprano Heather Buck. Buck, who did not follow a conventional path into opera but whose singing is nevertheless stunningly flawless, is a perfect fit for Rihm's piece. Like this contemporary composer's music, her artistry fulfills us in unexpected and unforeseen ways. She brings an intense lyrical sensuality to this role that might otherwise come off as a sterile exercise in atonal vocalise. It is evident that Buck has internalized this piece and has become one with it." Read More...
Fernando Rivas, Charleston City Paper
"I've never seen a singer command the stage the way Heather Buck does in 'Proserpina' at the Spoleto Festival USA.... Every minute she was onstage, she was a compelling figure." Read More...
Charlotte Observer
Heather Buck and Jason Bruffy in Wolfgang Rihm's monodrama "Proserpina," at the Spoleto Festival USA in Charleston, S.C.<br />
At Spoleto, a Departing Director and a Premiere

"The work is a tour de force for soprano — in this case, Heather Buck... the evening belonged to Ms. Buck, who sang beautifully in the plush melodies at the start and adapted expertly to increasing angularity and high-flying acrobatics as Proserpina's plight grew dire. Mr. Schmoll's spare production, with a set and modern-dress costumes designed by Marsha Ginsberg, provided Ms. Buck with a mostly blank slate, and she was equally compelling as a sheer stage presence, whether self-absorbed or interacting with the chorus and even the orchestra."

James R. Oestreich, New York Times
Elmer Gantry - Florentine Opera - 3/21/10
"Florentine's soprano was Heather Buck, whose pinpoint negotiation of the stratospheric writing for conniving town slut Lulu Baines pealed brightly above the ensembles."
Mark Thomas Ketterson, Opera News
"Kennedy heard all the buzz in modern music circles about Rihm's new opera, its extremities of range, its revived classicism, its motifs and melismas, its expressive lyricism and tumultuous emotions, and he thought: We could do this, Heather Buck could do this.

"'She is a very special artist in that she is impeccable in her performance and preparation,' he said. 'She is beyond musical but also emotionally communicative.'"

Adam Parker, Charleston Post and Courier
Heady love potion intoxicates audience
"As Adina, soprano Heather Buck was all light and embellishment, the embodiment of bel canto, the favored operatic style of Donizetti and his peers. Even better, Buck's acting seemed as natural and effortless as her vocal gymnastics."
Sally Vallongo, Toledo Blade
Some stand and cheer, some leave 'Gantry' premiere
"The opera's finest moments include: a soul-piercing crisis-of-faith aria given a searing delivery by Vale Rideout as Frank Shallard; Heather Buck's soaring soprano take on Lulu Baines; and a particularly memorable scene in the burning tabernacle."
Elaine Schmidt, Milwaukee Journal Sentinel
A Offer You Can't Refuse: The Sopranos in Kentucky
"Buck's ‘Der Hölle Rahe' from Mozart's ‘The Magic Flute' was incendiary in more ways than one. In fact, a more complete performance of the Queen of the Night would be hard to find, with [Ms. Buck] - a stunning figure physically - spitting out the Queen's venom in a sumptuous voice that demonstrated amazing precision as well."
Mary Ellyn Hutton, Music in Cincinnati
Pirates of Penzance, Indianapolis Opera, 3/13/09
"Heather Buck, a last-minute replacement as Mabel, was brilliantly bubbly, even introducing her own special cadenza into 'Poor wand'ring one' by adding some variations on Candide's "Glitter and be gay."
Charles H. Parsons, Opera News
Lots to love in this 'Magic Flute'
"Heather Buck's potent stage presence and vocal power suit the Queen of the Night. Her Act 2 aria got off to a spectacular start, as Buck combined vocal substance with dazzling agility."
Tom Strini, Milwaukee Journal Sentinel
Heather Buck (shown with Philip Cutlip) plays Valencienne in the Florentine Opera Company's production of "The Merry Widow" in November 2007. She returns Friday through Sunday for the Florentine's production of Mozart's "The Magic Flute."
"Heather Buck, one of the shiniest gems in the Florentine Opera's sparkling 'The Merry Widow' in 2007, is back." Read More...
Tom Strini, Milwaukee Journal Sentinel
'Pirates' anchored by strong performances
"Tender, emotionally true and providing a glimpse of a beating heart below all of the silliness, ... Heather Buck [was] able to comfortably bring such extremes into [her performance], all the while staying committed not just to character but also to vocal excellence."
Lou Harry, Indianapolis Business Journal
Der Freischütz, Opera Boston, 10/17/08
"Heather Buck -- the kind of performer who makes it all look easy -- was fresh and delightful as Agathe's cousin Ännchen, combining an agile, liquid soprano, a bright, natural stage presence and the timing of an expert comedienne."
Kalen Ratzlaff, Opera News
Review: Opera Boston's Der Freischütz
"Heather Buck did not lack for agility (vocal or otherwise) as Ännchen, the heroine's obligatory non-fainting sidekick."
C. Fernsebner, Bostonist
"Heather Buck sang Annchen with dexterity and sparkle."
Jeremy Eichler, Boston Globe
"Soprano Heather Buck's portrayal of Rosina was sheer delight, shifting alluringly and seemlessly from the self-proclaimed sweet girl ('Io sono docile') to the self-absorbed conniver. Capped by coloratura pyrotechnics in the aria, 'Una voce, poco fa,' she consistently sang with radiance and fullness, easily filling, but not overpowering, the Alabama Theatre acoustics." Read More...
Michael Huebner, Birmingham News
"The American soprano Heather Buck is quite a find as the Queen of Night: statuesque of bearing, surefire in the vocal stratosphere, and a powerfully ambiguous presence." Read More...
Hilary Finch, The Times (London)
"The title role is especially rife with vocal leaps, though the soprano Heather Buck, who brought charming tomboyish energy to her portrayal, sang with unflagging stamina and impressive assurance." [HAROUN AND THE SEA OF STORIES - New York City Opera]
New York Times
"Soprano Heather Buck - an athletic, convincingly boyish Haroun - never lost her cool while vaulting through the high-flying vocal terrain of the title role." [HAROUN AND THE SEA OF STORIES - New York City Opera]
New York Post
"Heather Buck's Queen of the Night came into her own with a vivid and vituperative vengeance aria in Act II; this was high coloratura as threat and weapon, not just a vocal exercise." [DIE ZAUBERFLÖTE - Santa Fe Opera]
Free New Mexican
Total: 83 (Viewing: 61–83)