Critical Acclaim

The most impressive of the operatic numbers was a gorgeous duet for Caesar and Cleopatra, given a lovely turn by the sopranos Nacole Palmer and Jamet Pittman. 

The New York Times — James Oestreich

Nacole Palmer, a soprano, brought depth and nuance to the daughter’s closing lamentation.  

The New York Times — Allan Kozinn

…soprano Nacole Palmer, always alert to the text...attacked the final recitative with gusto. The wondrous strangeness of the Nativity story came finally, fully alive. 

The New York Times — Zachary Woolfe

…performing with polish and refinement…Nacole Palmer, a soprano, offered a precise, brightly projected ‘Rejoice greatly.’ 

The New York Times — Steve Smith

With felicitous flute, oboe and bassoon accompaniment, Nacole Palmer scaled the dramatic heights of Zerfliesse mein Herz (Melt, my heart), her low tones honeyed and deeply affecting. 

The Miami Herald — Lawrence Budmen

Palmer’s Countess Almaviva seems to have stepped out of one of the Yale Undergraduate Art Gallery’s 17th-century paintings. Her distinguished grace…Her arias about the pain of betrayal and lost love are delivered with such pure emotion that the audience has no recourse but to feel her heartache. Even her props come alive and are affected by such simple acts as stroking the jacket which her husband has abandoned. 

The Yale Herald — Sarah McDonough