“THE TENOR AARON SHEEHAN, brought shining quality and deep sensitivity to the title role (Orfeo).”
— James Oestreich - NY Times 2015

“To single out Saturday’s star, it’s hard to imagine a better reading of the central part of Orfeo himself than the one given by the young American tenor Aaron Sheehan. In Act III, as Orfeo was pouring out his bereft soul to Caronte, the divine ferryman and gatekeeper of hell, the audience came to understand how mere music might melt even the icy heart of such a god. Certainly I was moved. ” — Boston Musical Intelligencer - June 2015 George Harper

“(Aaron) Sheehan’s Orfeo was earnest and meltingly sung.”
— Jeffrey Gantz - Boston Globe June 2015

“The most impressive performance comes from Aaron Sheehan (as Ulisse’s son Telemaco) whose light lyrical voice delivers the music with utter naturalness. ” — Anthony Pryer - BBC Music magazine August 2015

“THE TENOR AARON SHEEHAN, who sings the role of Orpheus, a finely nuanced interpretation.”
— Gramaphone Magazine 2014

“Played by Aaron Sheehan, whom I've seen in French, Italian, and English roles, though he's arguably at his best in the French repertoire. His high tenor brings a fine sense of style to a very well produced instrument, and a rich vocal warmth. Sheehan's agility isn't on display in this score, but his air "Ah! Bergers, c'en est fait" is an excellent example of his evocation of pathos” — Fanfare Magazine Oct 2014

“The title role, though, is a gift for a high tenor. It is gloriously sung here by Aaron Sheehan, in a stylish, intense performance.”
— The Guardian 2014

“The performance was lifted by the dulcet high tenor of Aaron Sheehan……he had a mellifluous legato….and dramatic intensity for the plaintive recitative. ” — Washington Post 2013

“TENOR AARON SHEEHAN…His elegantly arched, supple phrasing caressed every word of the text, and his timbre revealed the luxury of Italianate warmth, notably in his upper range.” — San Diego Story 2014

“The vocal standout of the evening was tenor Aaron Sheehan, whose Orphée rang with a sweet, mellow halo that was as silken and soothing as its description in the text.”
— Opera News 2014
“FEATURING TENOR AARON SHEEHAN in an impeccable performance!”
— Denver Post 2013

“Aaron Sheehan sang the part of the Evangelist, and his performance was quite simply astounding!” — San Francisco Classical Voice 2013

“As Orfeo, Aaron Sheehan sang the role of a lifetime. Sheehan set a standard for exposed, emotional singing.”
— Berkshire Review 2012

“And most remarkable of all was tenor Aaron Sheehan, who made a moving Orpheus in the demanding title role. His long, quasi-aria plea to Charon had the evening's best trills and rapidly repeating trillos.” — Lloyd Schwartz 2012

“Stubbs and O'dette found in the young Aaron Sheehan an Actéon, who has a perfect command of the French baroque declamatory style and displays a top range which is light as feathers and pure of line.” — OpernWelt 2011

“Aaron Sheehan has a convincing vocal presence as a lusty young man.Aaron Sheehan, an unfailingly stylish tenor, proved a major asset, too, as Jupiter. His elegant embellishments in “Where’er you walk” were beautifully judged.”
— Baltimore Sun 2012

“Aaron Sheehan's attractive strong tenor and fluid acting style made him a sympathetic Acis.”
— New York Times April 2011

“Aaron Sheehan is a light tenor with a rounded, unforced tone that falls very easily on the ear.” — Gramophone March 2011

“Aaron Sheehan has a convincing vocal presence as a lusty young man.”
— International Record Review March 2011

Heartbreaker Aaron Sheehan, was stellar in the title role of…..Handel's Jeptha….In what is surely his most sophisticated and heroic performance.”
— Boston Phoenix March 2011

“Aaron Sheehan's youthful, high-tenor Actéon sounds sweeter and … virile.”
— The Classical Review Febuary 2011

“Aaron Sheehan…can be heard in his accustomed bright richness in Actéon…as always, high tessitura proves no problem, and the voice is seamlessly navigated at all times. — Fanfare March 2011

“As Actéon, Aaron Sheehan is utterly compelling, whether swooning over Teresa Wakim's imperious Diano or emitting disturbing howls during his metamorphosis. ”
— The Guardian January 2011

“AS ACIS, TENOR AARON SHEEHAN WAS SUPERB: his tone classy, clear, and refined, encompassing fluid lyricism and ringing force.” — Boston Globe Nov. 2009

“Aaron Sheehan and Zachary Wilder brought down the house with a crisp, zesty account of ‘Zefiro Torn,’…” — Allan Kozinn, New York Times Art Beat, June 2009

“Polished, lovely tone of tenor Aaron Sheehan.”— Washington Post, Jan 2010 “
Tenor Aaron Sheehan performed the role of Evangelist, and sang with assured vocal and linguistic fluency, tasked with telling the audience the story while imparting its drama. In this regard, he was superb.” — Classicalvoice.org April 2009

                                      “Sinuous, and Supple”— Opera News
“Carolyn Sampson and Aaron Sheehan are exquisite as the lovers.”
— The Guardian, Sept. 2008

“Aaron Sheehan made a fine impression with his bright, flexible tenor as Liberto.”
            — The Berkshire Review for the Arts, June 2009

“Tenor Aaron Sheehan stood quietly as he poured our poetic texts with lovely tone and sensitive nuance. Especially moving was his interpretation of Binshois' profound lament, Ay, doloureux…” — The Cleveland Plain Dealer

“The indispensable early music tenor, Aaron Sheehan.”
— American Record Guide Dec. 2009

“Tenor Aaron Sheehan was ideal, clear and polished, elegantly declaiming the wide-ranging but dramatically restrained recitatives with quiet intensity.”
— Boston Globe May 2008

“Among the soloists, Aaron Sheehan, as the Evangelist, had an unforced,
personable sound, and managed the fiendishly difficult aria, ‘Frohe, Hirten,’ easily.”  — Boston Globe Dec 2007

“Aaron Sheehan sang with vocal aplomb and musical charm.”
— Richard Dyer, Boston Globe

“He boasts a handsome tenor and throws all his energy and all his gangly limbs into the role of the love-struck youth.”— Baltimore City Paper, Jan 2007
“Nathalie Paulin, a soprano, and Aaron Sheehan, a tenor, who sang in ‘Armide’ and other works, were stong.” — New York Times, Oct 2006