La Comtesse Adèle in Le Comte Ory
"Also excellent was soprano Sharin Apostolou as Comtesse Adèle, who has sworn herself to celibacy until her brother returns safely from the crusade, yet is feeling the itch to break this vow. Apostolou showed amazing vocal agility in the highly demanding coloratura challenges of the role, retaining a purity of tone throughout. And, as with Arbjornsson and Pojanowski, she proved to have a great flair for the comic aspects of her character."
-Arlo McKinnon, Opera News
"The other sides of the central love triangle are even better. Silky, plangent lines flow from the mezzo-soprano Elizabeth Pojanowski, as the lovesick page Isolier. And as the countess Adèle, Sharin Apostolou’s clear, penetrating high notes don’t feel out of place with the general mellowness of her smooth soprano."
-Zachary Woolfe, The New York Times
"Sharin Apostolou’s soprano pealed out with rippling coloratura and pearly high pianissimos in the Countess’s long and tricky role."
-James Jorden, The Observer
"As Adèle, the object of the good Count's desires, Ms. Apostolou was a vocally robust, sensual and warm presence. It's a pity her character enters late in the first act, because from her first strut through the audience to the stage in the middle of the venue, she nearly stole the show. Wielding a cell phone and even taking the occasional selfie during the show, this singer played Adèle with a combination of old-school glamor and vocal acrobatics. She combined these gifts with the innate comic timing that can't be taught. This was a bravura performance, with the biggest belly laughs coming in the opera's second act."
-Paul J. Pelkonen, Superconductor
"Once in his next disguise as a nun in another outrageous pink outfit, he made the most of his wry attempts at seducing the not-so innocent Comtesse Adèle of sparkling soprano Sharin Apostolou. Grown bored waiting for her husband’s return from war, the glamorously self-dramatizing Apostolou made a swell entrance clad in widow’s black and soon revealed in a grand cabaletta full of cascades of frilly coloratura that she was more than tempted by the attentions of Isolier, Ory’s page, superbly portrayed in travesti by the shining mezzo Elizabeth Pojanowski. The production’s particularly impressive female contingent was completed by the primly stern and rich-voiced Ragonde of Shirin Eskandani."
-Christopher Corwin, parterre box
Florida in Florida
"Sharin Apostolou as Florida is positively sensational in her captivating portrayal of the young girl’s lust for life and experiential coming of age. From her sensual physicality to the ease of her vocal production, Apostolou’s high energy performance leads the show with an intensity that matched that of her complex character.
Overall, Urban Arias production of “Florida” is characteristically striking and worth going to see just for Sharin Apostolou."
- Erin Ridge, MD Theater Guide
"Sharin Apostolou as the title character brings to Florida a fearlessness both vocally and physically and, after she warms up, manages to pull off the wild low plunges and high soprano staccato attacks with equal alacrity. She is a dream of an emotional actress to boot.
In “There’s a scream inside me,” she gives us the roots of a rebellious teenager’s angst. Soon she plays a dangerously vixenish game as she flings her curvaceous body with abandon across the stage singing about her passion for red lipsticks. But as the events turn dark and complicated, she becomes a frightened little girl caught up in a woman’s body. "
-Susan Galbraith, DC Theater Scene
"Sharin Apostolou was terrific playing a curious, vibrant teenager with a vivid and seemingly tireless soprano voice."
-Anne Midgette, The Washington Post
"New in town, the attractive Florida (Sharin Apostolou), and her mother, One Dead Mother (Nancy Allen Lundy), find themselves under the prying eyes of their neighbors. Florida, with her red nails and red lipstick, is immediately criminalized for following the womanly desires awakening inside of her. In “There’s a Scream Inside Me” Apostolou beautifully shifts between the confusion, curiosity, and outright hunger battling within Florida and sets the stage for a musically flawless performance the entire evening."
Em Snow, DC Metro Theater Arts
Carrie Pipperidge in Carousel
Sharin Apostolou, a Young Artist, brought an unusually tangy lyric soprano to Carrie Pipperidge; her voice, as much as her sprightly stage manner, told us why Mr. Snow would choose this hoyden as his helpmeet and the mother of his brood." — Fred Cohn, Opera News
"Julie’s co-worker at the mill, Carrie (soprano Sharin Apostolou), and her beau Enoch Snow (tenor Joe Shadday), are nominally comic second leads but given the talents of both singers, along with Charles Newell’s generous direction, they are more than that. Apostolou’s capricious stage personality might indeed generate humor, but her solos, “You’re a Queer One, Julie Jordan” and “When I Marry Mr. Snow,” are exquisite. Similarly Shadday exhibits ready wit, getting maximum laughter out of a modest line like “Boston cream pie.” Their duet of domesticity, “When the Children are Asleep,” feels heartfelt and moving. Later, in the second act, when former fisherman Enoch inflates into a greedy bourgeois, both Apostolou and Shadday navigate the turn convincingly."
-James MacKillop, Syracuse New Times
"As the other “love story” couple, soprano Sharin Apostolou and tenor Joe Shadday, both members of the Young Artists program, gave exceptional singing and acting performances. Their ensembles were especially good. While providing some lighter moments they served well as a contrast to the unconventional Billy and Julie. Apostolou’s rendition of “When I Marry Mr. Snow” had good vocal clarity, energy, and comic timing."
-Jane Dieckmann, The Ithaca Times
"Supporting performances made more of an impact, particularly Sharin Apostolou’s bright, confident Carrie and Joe Shadday’s genial Enoch Snow."
-Zachary Woolfe, The New York Times
"As Carrie Pipperidge, Julie’s friend and confidante, Sharin Apostolou delivered an impressively convincing and consistent effort both as a singer and actor. The Greco-American soprano, who returns this year as a Glimmerglass Young Artist, has a voice well suited both to opera and musical theater. Her performance throughout the evening was delightful and engaging.
Unlike the fiesty Julie Jordan, Apostolou’s character is a docile, “plain Jane” gal perfectly content to let her man (Enoch Snow, played by Joe Shadday) make the decisions in her life.
Apostolou found the right balance of sweetness, effervescence and wholesomeness in When I Marry Mister Snow, her vibrant and richly colored vocal timbre worked wonders in the duet ensemble numbers You’re a Queer One, Julie Jordan and When the Children Are Asleep.
Apostolou is a consummate actor as well, using virtually every part of her body — facial expressions, arms, legs — to bring her character to life."
- David Abrams, CNY Café Momus
"Sharin Apostolou was an enthusiastic and girlish Carrie Pipperidge, and her characterful musical comedy style was the best realized of the evening. If she sometimes came off as too ditzy, she was consistent and appealing. And she did find some determined spunk in Jigger’s attempted seduction scene that made hers the best-rounded character." - James Sohre, Opera Today
"Sharin Apostolou, as Carrie Pipperidge, forecasting her fate with "When I Marry Mr. Snow," and Joe Shadday, as Enoch Snow, shine in the parallel plot of the young couple who pull themselves out of the common misery by Enoch's determination to build a thriving fishery and Carrie's willingness to accept the role of supportive wife and baby producer (they have nine children). Their voices blend beautifully on "When the Children Are Asleep."
- Linda Loomis, Syracuse.com
Rosina in The Barber of Seville
"As the two young lovers Rosina and Count Almaviva, Sharin Apostolou and tenor Brenton Ryan made a believable pair, with the good looks and beautiful voices needed to pull off those characters.
Apostolou not only made a gorgeous Rosina, but her sparkling coloratura and her slightly devilish humor made her a very appealing leading lady. One of the highlights of the evening was her dazzling version of “Una Voce Poco Fa,” perhaps the best-known aria from the opera."
- Randolph Lacy, The Wichita Eagle
Rodelinda in 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
Nannetta in 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
Almirena in 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
The Secretary in King for a Day
"One more performer deserves mention: as the baron’s secretary, an invented character, the soprano Sharin Apostolou stole scene after scene with her whimsical expressions and flamboyant moves." -Steve Smith, The New York Times
Adina in L'elisir d'amore
"Sung by Sharin Apostolou, Nemorino’s coquettish heartthrob Adina has the airs and graces of the town’s richest lady, but she’s also a first-class flirt. Though the characterization is flighty and light, this coloratura role is a demanding one, and Apostolou, a rising soprano on the national scene, wowed the crowd." -Gail Obenreder, DelawareOnline
"Sharin Apostolou as Adina was adorably sweet... One of the pleasant surprises was that these characterizations, and the comic situations, emerged without any neglect of musical matters. Every note was well placed, the intricate embellishments were accurate and the tones were gleaming." -Steve Cohen, http://www.broadstreetreview.com/
At Green Mountain Opera Festival:
"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
Alinda in 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
Norina in 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
Calisto in 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
Argene in 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
Le feu, La Princesse, and Le rossignol in 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
Miss Wordsworth in 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