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