“... the music just pours out of her.”
    — The Orange County Register

 

“One does not just listen to Nicole Cabell with pleasure; she is also a joy to behold.”
    — Berliner Morgenpost

“... a glamorous 31-year-old with an important voice: gleaming, focused and of a lovely timbre throughout its range; an instrument to be cherished.”
    —The Globe and Mail

Photo © Marc Ginot / Opéra National de Montpellier

As Adina in L’Elisir d’Amore, Opéra National de Montpellier, November 2006

  more photos

“... a golden, creamy, evenly gauged voice from top to bottom; the music just pours out of her.”
    — The Orange County
       Register

“Cabell is now one of the most exciting lyric sopranos to grace the world’s concert halls.”
     — Chicago Magazine

“When Cabell opened that great smiling mouth, what we heard was liquid gold ... she was spellbinding ...”
    — The Times

“... the kind of star quality, and best of all the vocal resources, that bodes well for a long and successful international career.”
    — Chicago Daily Herald

“... a bright, expressive voice, as well as strong acting skills.”
    — Baltimore Sun

“Her sound was delicate and agile, her phrasing intelligent and secure, and her stage manner touching.”
    — Bloomberg

“One does not just listen to Nicole Cabell with pleasure; she is also a joy to behold.”
    — Berliner Morgenpost

Press acclaim for Nicole Cabell

 As Pamina in Die Zauberflöte with the Lyric Opera of Chicago:

“Pamina is the ideal Mozart role for [Nicole] Cabell, and the Ryan Opera Center's star alumna fulfilled every requirement. Thanks to her creamy soprano, poised line and expressive phrasing, the heroine's lovelorn aria, ‘Ach, ich fühls,’ was infused with delicate pathos, while the Pamina-Papageno duet went like a dream.”
    — John von Rhein, Chicago Tribune, December 7, 2011

“The anchor here is Chicago-based soprano Nicole Cabell, the Ryan Center alum who continues to develop as a serious artist well beyond being a pretty voice and face. As Pamina, the promised bride of the hero-prince Tamino, Cabell takes us on her character’s journey of maturity, vocally and theatrically matching each of her setbacks and joys.”
    — Andrew Patner, Chicago Sun-Times, December 7, 2011

“Nicole Cabell is the one known quantity in this cast. The popular singer’s lyric instrument is eminently well suited to Mozart’s heroine and in her first local appearance as Pamina, Cabell proved what a really superb Mozartean she has become. Rich and exquisite in tone, Cabell’s is one of the most beautiful soprano voices of our time, and she sang with extraordinary gleam, expressive nuance and faultless technique throughout.
    If in the early going her Pamina seemed more coquettish than innocent, Cabell’s portrayal grew in dramatic depth as the evening unfolded. She rose to the considerable challenge of Ach, ich fühl’s superbly, singing with a seamless legato and bringing a stark, affecting despair to Pamina’s pain when she thinks Tamino has abandoned her. Cabell was also alive to the opera’s comedy and brought an ennobled radiant presence to the final scene.”
    — Lawrence A. Johnson, Chicago Classical Review, December 7, 2011

 As the Soloist in Ravel’s Shéhérazade with the Cincinnati Symphony Orchestra:

“The evening's soloist, soprano Nicole Cabell, provided a radiant contrast in her performance of Ravel's ‘Sheherazade.’”
    — Janelle Gelfand, Cincinnati Enquirer, October 16, 2011

 As the Countess in Le Nozze di Figaro with Opera de Montreal:

“The American soprano Nicole Cabell’s Countess is surely one of the finest portrayals of this role on the stage today. Cabell moves with aristocratic bearing and sings in a lustrous, voluptuously beautiful voice; her arias were among the highlights of the evening.”
    — Robert Markow, Opera magazine

“Nicole Cabell offers noble singing, dreamy legato and luminous high notes. She will surely grow to become a Marschallin and possibly an Ariadne or a charming Arabella.”
    — Louis Bilodeau, L'Avant-Scène Opera, September 17, 2011

“Mozart’s The Marriage of Figaro is a musical masterpiece full of melodic arias and ensembles, one after the other A great production requires five top singers in the main roles, and by assembling an exceptional cast of brilliant young singers, the Opéra de Montréal’s season opening production is a hit. Leading the way was American soprano Nicole Cabell in the role of the Countess. From her opening Act II aria Porgi, amor, her sumptuous voice and buttery legato filled Salle Wilfrid Pelletier; the experience was exceeded by an even more beautiful Act III aria, Dove Sono.”
    — Wah Keung Chan, Montreal Gazette, September 18, 2011

“Nicole Cabell captivates both the eyes and the ears with the richness of her timbre and a powerful, round voice that is capable of singing pianissimo. Her two great arias - Porgi amor and Dove sono - received prolonged applause from the audience.”
    — Jacques Hétu, ResMusica, September 20, 2011

 As Clara in Porgy and Bess in concert with the Tanglewood Music Festival:

“What resonated most, though, were the pleasures of an August evening as extolled in the opening hit, ‘Summertime.’ A radiant interpretation was given by soprano Nicole Cabell, the first of many fine performances.”
    — Joseph Dalton, Times Union, August 27, 2011

“And the Tanglewood Festival Chorus was perfectly diaphanous in the vocalizing that supports the opening rendition of ‘Summertime’ (sweetly floated by Nicole Cabell).”
    — Zachary Woolfe, The New York Times, August 28, 2011

“Nicole Cabell made in Clara's signature ‘Summertime’ a dreamy and tragic affair.”
    — Andrew L. Pincus, Berkshire Eagle, August 29, 2011

“Nicole Cabell as Clara, Marquita Lister as Serena, and Gwendolyn Brown as Maria all gave fine performances.”
    — Jeremy Eichler, Boston Globe, August 30, 2011

 As Pamina in Die Zauberflöte with Cincinnati Opera:

“As the princess Pamina, Cabell was stunning. She radiated the innocence of the princess, while projecting a voice of supple beauty, elegance and richness. Her lament, ‘Ach, ich fühl's’ was mesmerizing for its touching beauty and depth of expression…Together, Cabell and the hero, Tamino, sung by tenor Shawn Mathey, had believable chemistry.”
    — Janelle Gelfand, Cincinnati Enquirer, July 29, 2011

 As Mimi in Act III of La Bohème in concert with Atlanta Symphony Orchestra:

“As Mimi, soprano Nicole Cabell (Atlanta Opera’s Pamina last season) has a voice of rare beauty and fullness, with an opulence across her range.”
    — Pierre Ruhe, ArtsCriticAlt.com, April 29, 2011

 As the Soprano Solo in Bach’s St. Matthew Passion with Soli Deo Gloria, Chicago:

“It was luxury casting to have Nicole Cabell as soprano soloist. This was the popular opera singer’s debut in this work, and Cabell’s radiant vocalism was stellar throughout, finding a well-calibrated balance between expressive ardor and spiritual glow.”
    — Lawrence A. Johnson, Chicago Classical Review, April 21, 2011

“Distinguished contributions also came from […] soprano Nicole Cabell.”
    — John von Rhein, Chicago Tribune, April 21, 2011

 As Micaëla in Carmen with the Lyric Opera of Chicago:

“Musically and histrionically, Micaëla is a natural fit for Cabell, the superstar graduate of Lyric’s Ryan Opera Center. The character showed vulnerability and, later, determination as the emissary from Jose’s mother struggled to rescue him from Carmen’s clutches. Cabell was charming in Act 1 and both delicate and vibrant in the famous third-act aria.”
    — John von Rhein, Chicago Tribune, March 13, 2011

“The most significant cast change is Ryan Center alum and local favorite Nicole Cabell as Jose’s abandoned hometown girl Micaëla. Though the role often is thankless and dully sung, the California-born soprano gives it life throughout the performance, especially in her Act 3 aria and prayer.”
    — Andrew Patner, Chicago Sun-Times, March 13, 2011

 As Micaëla in Carmen with the Metropolitan Opera:

“As Micaëla, the girl next door, Nicole Cabell seemed particularly gentle and virtuous in Carmen’s seductive shadow, singing with a lovely, fluid soprano and touchingly conveying the character’s vulnerability. She and Mr. Jovanovich offered an affecting rendition of their Act I duet.”
    — Vivien Schweitzer, The New York Times, November 5, 2010

“The evening’s finest singing came from Nicole Cabell in the role of José’s hometown sweetheart Micaëla. Cabell’s consistently well-rounded, glowingly resonant tone reminded me of Anna Netrebko’s Micaëla at the Mariinsky Theater early in her career. And Cabell invested the big aria with a due sense of foreboding.”
    — George Loomis, The Classical Review, November 5, 2010

“Best were Brandon Jovanovich’s taut, muscular tenor as Carmen’s soldier lover Don José, and Nicole Cabell’s interestingly dark lyric soprano as his ex, Micaëla.”
    — James Jorden, New York Post, November 8, 2010

“Nicole Cabell made a highly sympathetic Micaëla, with a slight but attractive flutter in her tone; […] she enacted her part very well.”
    — David Shengold, Opera News, February 2011

 As Leïla in Les Pêcheurs de Perles with the Royal Opera House, Covent Garden:

“Despite the excellence of all around her, it was Nicole Cabell who was the clear star of the evening. Her voice is gorgeous, cut from the finest velvet. It was in the second act that Cabell had her chances to shine, and she took each and every one of them. Her recollection of past times ('Comme autrefois dans la nuit sombre') was perhaps the highlight here, culminating in one of the finest vocal trills I have been privileged to hear. Interesting that Pappano gave prominence to the horns at this point, a hunting pair that suddenly seemed to wrench us into the world of Weber's Freischütz. In the final act, it was notable that, while one revelled in Finley's strengths, when Cabell entered it was evident that she was finer still.”
    — Colin Clarke, Seen and Heard, October 14, 2010

“In terms of the complete package, though - presence, acting, looks and above all an instrument of real individuality - Nicole Cabell was the one who had it all. Measured at first, keeping the voice just a little under wraps, she spun one line of dizzying rapture in the recitative before her exquisite Act Two aria, in effect a duet with the Royal Opera's principal horn, and more poured forth in Léïla's duets with the two men who loved her.
    “Cabell is down to play good girls like Mozart's Ilia and Pamina, but I wonder whether she might be prepared to make a temporary sacrifice of the upper bloom though not the agility and give us a definitive soprano Carmen.”
    — David Nice, The Arts Desk, October 5, 2010

“But what a persuasive cast they were, especially with Pappano’s sensuously shimmering accompaniments allowing them to float real pianissimos. Nicole Cabell hasn’t been much seen in Britain since winning the Cardiff Singer of the World competition five years ago. Her sumptuously creamy voice has grown in intensity, and her slimline-Callas looks are no handicap when playing nubile priestesses. She still covers her timbre a little cautiously, but Comme autrefois was gorgeously delivered, and in her big Act III duet with Gerald Finley’s Zurga the sparks really flew.”
    — Richard Morrison, The Times, October 5, 2010

“Nicole Cabell, a popular winner of Cardiff Singer of the World in 2005, sang with cultured ease and grace.”
    — Rupert Christiansen, The Telegraph, October 5, 2010

“Nicole Cabell was the absolute jam on the evening’s cake, singing a most beautiful, technically immaculate ‘Comme autrefois’ at the start of Act II on jaw-droppingly long lines of quite masterly breath control, with warm, womanly sound and a textbook cadenza, including a real, no-substitutes-accepted trill to boot. Coupled with an effortless vocal placement and well-integrated registers, I thought she was excellent and a most sympathetic, involved performer.”
    — Stephen Jay-Taylor, Opera Britannia, October 5, 2010

“As Leïla, Nicole Cabell has infinite presence, her rich-blooded voice producing moments of mesmerising depth, but also interacting well with the frequently uplifting music.”
    — Sam Smith, Whatsonstage.com, October 5, 2010

“Nicole Cabell, a vision in ultramarine, masqueraded without difficulty as a Sri Lankan beauty. And her phrasing was sensuous enough to have her thrown out of the priesthood.”
    — Barry Millington, This is London, October 5, 2010

“Léïla's ambiguous, hieratic glamour suits Nicole Cabell.”
    — Tim Ashley, The Guardian, October 7, 2010

“The singers really only got into their stride after American soprano Nicole Cabell had entered as the priestess, with whom both Zurga and Nadir are in love. Her name Leïla was the original title of the opera, which was to be set in Mexico, but later changed to the more exotic location of Sri Lanka. Ms. Cabell won the Cardiff Singer of the World competition in 2005, and she sang beautifully here — she was the star of the evening, definitely a soprano to watch out for.”
    — Mark Ronan, Mark Ronan’s Theatre Reviews, October 5, 2010

 In Gala Concerts with the Malaysian Philharmonic Orchestra:

“The concert hall was filled to the brim and the audience were enthralled by American soprano Nicole Cabell on centre stage.”
    — Halim Said, New Straits Times, September 30, 2010

 As the Mater Gloriosa in Mahler’s Symphony No. 8 with the Edinburgh Festival:

“Upper Circle punters were blessed with the soprano Nicole Cabell’s Mater Gloriosa, spinning a transcendent line from the gods in a magnificently handled finale.”
    — Sarah Irwin Jones, The Times, September 5, 2010

“The soaring presence, high in the Gods, of ethereal soprano Nicole Cabell as the Mater Gloriosa, was spellbinding.”
    — Kenneth Walton, The Scotsman, September 7, 2010

“Whatever the reason, from the stunning opening impact of the full-force Festival Chorus and soprano Erin Wall’s sensitive ‘Veni Creator Spiritus’ to the transcendental ‘Komm Hebe dich’ by Nicole Cabell from the heights of the Upper Circle, it was an emotion-packed evening.”
    — Iain Gilmour, Edinburgh Guide, September 8, 2010

 In a program of Italian and French Opera Arias with the New York Philharmonic:

“The concert offered a substantial lure in the form of Nicole Cabell, a stellar soprano making her Philharmonic debut. Ms. Cabell, adorned in a different gown for each half of the program, was consistently alluring, her bright, creamy sound deployed with a beguiling ease. In Gustave Charpentier’s ‘Depuis le jour’ (from ‘Louise’), the Jewel Song from Gounod’s ‘Faust’ and Donizetti’s ‘Prendi, per me sei libero’ (from ‘L’Elisir d’Amore’) Ms. Cabell was ideal, with an attentive partner in Mr. Tovey. Warmly received throughout, Ms. Cabell drew the audience to its feet with her encore, Puccini’s ‘O Mio Babbino Caro’ (from ‘Gianni Schicchi’).”
    — Steve Smith, The New York Times, July 7, 2010

 As Pamina in Die Zauberflöte with the Atlanta Opera:

“The Princess Pamina, Nicole Cabell, was the gem on stage. She's been an international star-in-the-making since she won the 2005 Singer of the World Competition in Cardiff, Wales, and her voice is world-class: at once creamy and radiant and full-sized. Her aristocratic poise was ideally complemented by the dashing tenor. I hope the Atlanta Opera engages Cabell again soon.”
    — Pierre Ruhe, Atlanta Journal-Constitution, April 25, 2010

“The proficient young cast was headed by soprano Nicole Cabell as Pamina. Her sublime timbre and breathtaking phrasing rightly earned the ardent affection of her Tamino.”
    — Stephanie Adrian, Opera News, July 2010

 As the Countess in Le Nozze di Figaro with the Lyric Opera of Chicago:

“Cabell’s Countess makes Lyric Opera’s stellar ‘Figaro’ complete
    “With a new Countess added to the superb cast of Le nozze di Figaro, the Lyric Opera of Chicago’s season-closing production of Mozart’s comedy is now the complete, evenly balanced ensemble show it deserves to be.
    “The Countess Almaviva is a newish role for Cabell, one the Ryan Opera Center alumna debuted with Cincinnati Opera last June. Yet judging by the first half I caught of Monday night’s performance, it appears the part fits the American soprano like a well-tailored glove.
    “The tall, slender Cabell has the elegant presence and regal bearing for the put-upon wife of the philandering Count, and on Monday night she appeared equally at ease with the comic as well as dramatic elements. Vocally her high, creamy soprano was heard to fine effect in a lovely if somewhat carefully phrased Porgi amor, though her singing will no doubt become freer and more expressive with repeated performances.”
    — Lawrence A. Johnson, Chicago Classical Review, March 16, 2010

“Cabell, with her creamy sound and poised line, effectively conveyed her character's pathos and resolve, and she was warmly applauded.”
    — John von Rhein, Chicago Tribune, March 18, 2010

“Nicole Cabell jumped into the production with aplomb. Her Countess was young, moody, but not without humor, reacting well facially to all around her. How enchanting to hear a Countess showing no vocal problems, not even in the treacherous arias.”
    — David Shengold, Gay City News, April 6, 2010

 As Musetta in La Bohème with the Metropolitan Opera:

“The soprano Nicole Cabell brought a luminous voice and perky sensuality to Musetta.”
    — Anthony Tommasini, The New York Times, February 21, 2010

“Another standout was soprano Nicole Cabell, brittle and feline as the gold-digging Musetta.”
    — James Jorden, New York Post, February 22, 2010

“Nicole Cabell concentrated on projecting Musetta's good nature and lyrical sentimentality rather than her bad temper and shrewish outbursts -- all to the good.”
    — Peter G. Davis, Musical America, February 22, 2010

“Singing in a limpid, unforced lyric soprano, Nicole Cabell, the new Musetta, the flashy grisette, or ‘goodtime girl,’ suitably makes a spectacle of herself, in her red dress, singing her seductive waltz song, the center of attention even amid the multi-level splendors of Franco Zeffirelli’s Café Momus and busy environs, populated by hundreds of company members, and still breathtaking after 28 years. Cabell captures the audience’s rapt attention even with the offstage bit of a bis of ‘Quando m’en vo,’ near the beginning of Act Three.”
    — Bruce-Michael Gelbert, Q on Stage, February 25, 2010

“It was all the more remarkable that Cabell's Musetta at times made you forget Netrebko's presence entirely. A thoroughly impressive singer and gifted comedienne, Cabell presented a Musetta who was spoiled and manipulative, yet impossible to dislike — a comically self-absorbed narcissist to whom people are drawn in spite of themselves. Her "Quando me'n vo" had expertly coquettish phrasing that was indulgent, to be sure, but only within the limits of character. Cabell's tone is liquid gold. It was fully credible that Zeffirelli's vast Latin Quarter crowds came to a screeching halt when she sang.”
    — Joshua Rosenblum, Opera News, May 2010

 As Adina in L’Elisir d’Amore with the Lyric Opera of Chicago:

“Nicole Cabell offered a superb Adina; a splash of cream in her middle register (at times almost eerily reminiscent of the young Mirella Freni) has grown richer, and her performance was graced with liquid trills in the Act I ensemble and point-on articulation of the passagework in ‘Il mio rigor dimentica,’ here taken at a very rapid clip.”
    — Mark Thomas Ketterson, Opera News, April 2010

“… The aloof Adina, his employer (soprano Nicole Cabell, here at her most radiant and charming). […] Cabell once again proved herself one of today's foremost masters of the art of bel canto singing. Seamless, limpid lines and sparkling coloratura came effortlessly to her, and she blended beautifully with Filianoti in their duets. Moreover, the soprano was fully into the caprice and compassion of her character.”
    — John von Rhein, Chicago Tribune, January 25, 2010

“American soprano Nicole Cabell more than held her own as Adina in this otherwise all-Italian cast. In fact, as the two-hour, two-act opera went along, it seemed that Cabell, a noted Ryan Center alum, had found a part that suits her perfectly. Her clear tone, easy coloratura runs and inviting theatrical sincerity called to mind a young Beverly Sills.”
    — Andrew Patner, Chicago Sun Times, January 25, 2010

“Nicole Cabell also gave a first rate performance as Adina. She displayed all her character’s necessary self-confidence – she’s rich and the most beautiful girl in the village after all - and made a particularly strong impression in the opening aria ‘Della crudele Isotta,’ in which she recounts the story of Tristan and Isolde to her audience. Her vocal confidence was also very evident in ‘Chiedi all’aura lusinghiera,’ her duet with Filianoti and was even more notable in the later duet ‘Esulti pur la barbara.’ Her ensemble work with the other principals was also solid, with her concluding aria ‘Il mio rigor dimentica’ as fresh and emotionally resolved as anyone could hope.”
    — James L. Zychowicz, Seen and Heard, February 1, 2010

“Cabell’s flexible, high-lying soprano was made for this role, and she sailed through the coloratura passages with ease, her gleaming soprano and high notes cutting easily through the ensembles.”
    — Lawrence A. Johnson, Chicago Classical Review, January 24, 2010

“Award winning soprano Nicole Cabell has delighted Lyric audiences in several performances, going back to her time as a member of Lyric’s Ryan Opera Center, and her performance as Adina is no exception. She possesses a lovely lyric soprano, and her voice is well suited to the Bel Canto repertoire.”
    — R. Todd Shuman, Operaonline, January 27, 2010

 More performance and recording reviews: 2009, 2008, 2007, 2006 and 2005.

Represented by Columbia Artists Management

Photo © Decca/Kasskara