PRESS
Rodelinda
“Sharin Apostolou, a soprano in the Portland Opera Studio Artist program, rescued Portland Opera from a potential opening night disaster with steely nerves and artistic chutzpah, delivering an outstanding performance in the title of role of "Rodelinda." It was a night to be remembered for Apostolou who filled in for headliner Jennifer Aylmer, who was suffering from a bronchial infection and advised by her doctors to avoid singing. Apostolou, who I heard a few weeks ago in the Oregon Symphony's production of "A Midsummer Night's Dream", sang with intelligence and passion. Her voice was clear, supple, and had plenty of warmth and fire when needed. Apostolou's acting was also very inspired, revealing the character of a heroine who outfoxed her enemies with cunning and a double dog dare attitude...
Overall, the night belonged to Apostolou, a dynamic young talent who rose to the occasion and hopefully will have many opportunities to hone her artistry in the world of opera.”
– James Bash, Opera Now! Magazine
“Apostolou has a lovely, high, clear voice, and her coloratura -- the dazzlingly fast music that says "Don't mess with me" -- was exuberant… She covered the musical terrain without fear.”
– David Stabler, The Oregonian
Falstaff
"Also worth mentioning are the performances by the lovestruck pair of Fenton (Aaron Blake) and Nannetta (Sharin Apostolou), the daughter of Alice Ford. While Cynthia Clayton’s take on Alice Ford is breathtaking, Apostolou’s clarity and elegance on her few solos was mesmerizing."
- Austen Diamond Salt Lake City Weekly
"In fact, this was perhaps the best cast that Utah Opera has assembled in years. Michael Chioldi (Ford), Aaron Blake (Fenton), A.J. Glueckert (Dr. Caius) and Sharin Apostolou (Nannetta) were all extraordinary in their roles – especially Apostolou, who managed to meld and balance sexiness and sweetness in her portrayal."
-Edward Reichel, Reichel Recommends
"Another adroit casting match featured tenor Aaron Blake as Fenton and soprano Sharin Apostolou as Nannetta. The handsome pair credibly passed as love-smitten teenagers, their buoyant lyric voices aiding the illusion." -Robert Coleman, Opera News
"The cast revolving around Falstaff is uniformly strong. Standouts include Cynthia Clayton, the epitome of pluck as Alice Ford; Melissa Parks, a formidable Dame Quickly; Sharin Apostolou, a thoroughly charming Nannetta, and Michael Chioldi as Ford, whose duet with Falstaff is one of the evening’s greatest moments."
-Catherine Reese Newton, Salt Lake tribune
Rinaldo
"The production is so majestic, in fact, that it could easily overshadow the performances, if they too were not so strong. Sopranos Sharin Apostolou and resident artist Lindsay Ohse steal the show. Apostolou plays Rinaldo’s beloved, Almirena, as an earnest yet saucy princess, her winks and hard-to-get antics winning many a laugh. But she just as easily captures the pain and sorrow of her abduction: during the classic aria “Let Me Weep,” the notes of the violins and theorbo (an ancestor of the guitar) seem to fall from her crystalline vocal heights like tears." -Aaron Scott, Portland Monthly
"the cast of past and current members of the company’s resident artist program were fresh-voiced, well-matched and full of youthful energy. In the roles of the knight Rinaldo and his beloved, Almirena, Caitlin Mathes and Sharin Apostolou
deftly negotiated the leaps and ornaments of their showpiece arias while presenting sympathetic presences on stage." - James McQuillen, The Oregonian
Giasone
"Other hilarious types included... in the tiny role of the maid Alinda, Sharin Apostolou's dark eyes glittered as brightly as her coloratura soprano." -James Jordan, New York Post
"Playing the servant roles of Delfa and Alinda, both Karim Sulayman and Sharin Apostolou earned warm receptions from the audience for their oversexed comic timing—and, in Apostolou’s case, a honeyed coloratura." -Olivia Giovetti, WQXR
"Sharin Apostolou sang with flirtatious zeal as the voluptuous Alinda (Hypsipyle’s maid)." -Vivien Schweitzer, The New York Times
"Sharin Apostolou was radiant as Alinda, the bossy servant of the queen of Lemnos" -Corinna da Fonseca-Wollheim, The Classical Review
"Sharin Apostolou, as Hypsipyle's Despina-like maid Alinda, was a delight to watch and to hear." -David Browning, Operapulse.com
"Queen Hypsipyle’s maid, Sharin Apostolou, exhibited regal tones in her particularly beautiful, big voice." -Susan Hall Berkshire Fine Arts
Don Pasquale
"Sharin Apostolou played Norina with coquettish guile, charm and humor. Apostolou’s voice has shimmer and beauty, and she has wonderful control." -David Baxter, The Wichita Eagle
La Calisto
"Sharin Apostolou sparkled as Calisto, using a clear and supple soprano to dash off numerous impeccable runs." -James Bash, Opera Now! Magazine
"Sharin Apostolou was an affecting and sympathetic Calisto, both ardent in love and wounded when spurned. 'I will die a virgin,' she wailed in grief. Her voice was warm and her phrasing lyrical, yet pointed." -David Stabler, The Oregonian
"Soprano Sharin Apostolou sang with eloquence and shining focus as Calisto and L'Eternità." -Mark Mandel, Opera News
Ciro in Babilonia
"The sweet-voiced soprano Sharin Apostolou was a lovely Argene," -Anthony Tommasini The New York Times
"Sharin Apostolou brought a bright, pealing soprano to the role of Argene, Amira's confidante." -Heidi Waleson The Wall Street Journal
"Tenor Eric Barry and soprano Sharin Apostolou sounded pretty and charming as the disposable juvenile couple.
In fact, Apostolou was probably a little too talented for her role as handmaiden Argene. According to one of the earliest Rossini anecdotes, the creator of this role back in 1812 had a single good note in her voice, the B-flat above middle C, and accordingly the composer devised her throwaway second-act ditty using only that one pitch. Apostolou sang instead an adaptation of the aria with a more conventional melodic line, which rather spoiled the joke."- James Jorden, Musical America
L'enfant et les Sortilèges
"Friday night's show featured thoughtful performances from former Portland Opera studio [artist] Sharin Apostolou, who soared through sometimes stratospheric passages in 'L'enfant,'..."
-James McQuillen, The Oregonian
Dido and Aeneas
"The overwhelming delight of the evening was soprano Sharin Apostolou as Belinda. She was electrifying and handled the demands of this under-appreciated role to perfection. The coloratura was clean, accurate, and beautifully sung throughout the entire piece. She was bubbly and airy whilst trying to cheer Dido and absolutely devastating when she realized what actions her mistress had taken to relieve the torture. -Dan Boone, blogcritics.org
L'elisir d'amore
"Soprano Sharin Apostolou proved a brilliant Adina. Not only was her sound beautiful, she used is dramatically for just the right effect. In short, she used her voice expressively and effectively, which is what it's all about." -Jim Lowe, Times Argus
Albert Herring
“Costumes are crisp and conservative. Miss Wordsworth (Sharin Apostolou) and Lady Billows (Brenda Harris) look imperially radiant in crêpe de Chine and brocade silk, respectively. Those two ladies also give the best vocal performances.” - John Minervini, Willamette Week
“Sharin Apostolou was delightful as the church teacher Miss Wordsworth, with a light, nimble soprano and slightly maniacal smile.” - James McQuillen, The Oregonian
“soprano Sharin Apostolou as Miss Wordsworth sang outstandingly.” -James Bash, The Gathering Note
Norma
"Sharin Apostolou turned the Clotilde into more than just a small role giving here shape and a life as a confidante." Playbillarts.com
La Cenerentola
“ The very beautiful, but shallow and air-headed, stepsisters, were played with class and verve by Studio Artists Sharin Apostolou and Hannah Sharene Penn. nice foils to the buffa fatuousness and pomposity of Steven Condy as the stepfather who won't acknowlege his other daughter.” -Pat McElroy, KPBS All Classical
“Soprano Sharin Apostolou, as Clorinda, and mezzo-soprano Hannah Sharene Penn, as Tisbe, lit up the stage whenever they were on and were solid ensemble singers.” – Mark Mandel, Opera News
Mendelssohn’s A Midsummer Night’s Dream
“Sopranos Sharin Apostolou and Amy Jo Arrington sang beautifully…” – James Bash, Seen and Heard International
The Impresario
“The ensemble kept the piece moving forward buoyantly, with snappy tempos, amusing comic turns and fine singing; the sopranos, who carried most of the weight, were clear-voiced and agile, and Apostolou especially displayed lustrous high notes.” - James McQuillen, The Oregonian
Carmen
“Of the amiable supporting cast, new Portland Studio [artist] Sharin Apostolou (Frasquita)… made striking first hearings.” -Steven Marc Beaudoin, Willamette Week
“The smaller roles were mostly strongly sung; Carmen's four companions (Dancaire, Remendado, Frasquita and Mercedes) were all undertaken by Portland Opera Studio members and they were promising, indeed. Sharin Apostolou as Frasquita, in particular, delighted with bubbly stage presence and an easy, sparkling top.” -James Bash, The Last Debate