Reviews of Aaron Sheehan

NYTimes - Anthony Tommasini

"As the Evangelist, the tenor Aaron Sheehan balanced grace and urgency in relating this oft-told story."

Early Music America - Karen Cook

"Sheehan manages to create the kind of pathos, urgency, anguish, and sincerity that might otherwise only be achievable onstage, with all the benefits of body language and facial expression. Handel’s arias call for both strength and flexibility, and Sheehan provides both in spades."

Opera Magazine - David Shengold

"Aaron Sheehan swanned through as Orfeo, singing beautifully while dispensing vanity and attitude, flirting and grandstanding with fans and patrons…”

Voix-des-arts  - Joseph Newsome

"The journeyer’s inherent restlessness was omnipresent in tenor Aaron Sheehan’s entrancing performance of the rôle, in which unerring musicality was fused with sophisticated theatrical savvy……..Rather than depicting Ulisse as a caricatured protagonist, marginalizing his unsavory traits, Sheehan embraced all of the character’s dimensions, his fleet, fetching vocalism rendering the negative as enthralling as the positive.”

BBC Music Magazine - Anthony Pryor

"The most impressive comes from Aaron Sheehan (as Ulisse’s son Telemaco) whose light lyrical voice delivers the music with utter naturalness "

The Guardian -Tim Ashley 

"The title role, though, is a gift for a high tenor. It is gloriously sung here by Aaron Sheehan, in a stylish, intense performance from the Boston Early Music Festival"

Seattle Times - Melinda Bargreen

"The opera has only three principal roles, and Orphée carries the majority of the show with a highflying, taxing series of virtuoso arias. Aaron Sheehan was born to sing this music. Lyrical, artful and incredibly agile, he soared through this challenging score."

NYTimes - Allan Kozinn 

"Aaron Sheehan's attractive, strong tenor and fluid acting style made him a sympathetic Acis."

Opera Canada 

“Tenor Aaron Sheehan was a sweetly sung callow charmer of a Ulisses reassuring his two ladyloves with commensurate insincerity.”

Seattle Times - Melinda Bargreen

"the excellent tenor soloist....Aaron Sheehan's lyrical and nimble "Every Valley" was more than worthy of showstopping applause."

Gramophone - David Vickers

Aaron Sheehan’s silver-tongued singing conveys the weak-minded Demetrius’s vacillation between the enchantress and his wife.”

NYtimes - James Oestreich

"Aaron Sheehan, a tenor, is bright and appealing as Orphée." 

Bachtrack - Erica Milner

"Tenor Aaron Sheehan made a difficult task look easy. Being the first of the quartet to utter a note, he immediately demonstrated an exquisite quality that was absolutely perfect for the oratorio style, confirmation of his being an avowed devotee of the Baroque repertoire. His vocal range was consistent from top to bottom, his delivery was scrupulous, his diction was impeccable; and despite the light, lyrical attributes of his voice, he projected every word and every note throughout the hall."