Opera News

As Rosalinde, in Die Fledermaus

“…blossoming in real time as the evening progresses. This was the case with Haley Sicking’s creamily sung Rosalinde and Shana Grossman’s cut-glass Adele. Both sopranos started off perfectly capably, but came into their own in Act II. Sicking’s Rosalinde, liberated behind her feathered mask, tapped into the character’s canny side and was a worthy adversary for her philandering husband.” – Opera News

Dallas Morning News

As the Angel in La Resurrezione, by Handel

A “Superb” soloist, “Haley Sicking (as the Angel) supplied gleaming tones and nimble coloratura, but also elegantly inflected intimacies.” 

Parterre Box

As Rosalinde, in Die Fledermaus

“To begin with, there was the singing. As Rosalinde, Haley Sicking is nothing short of a star: a tireless, secure soprano that managed to be both voluminous and flexible. Though Rosalinde can be a difficult character to pull together, Sicking’s blooming voice complimented her innate sense of comedic timing.” – Parterre box

Dallas Morning News

In Handel’s Messiah

“Soprano Haley Sicking supplied gleaming tone and vivid delivery, not slighting tenderness when called for. I keep hoping for the more graceful 12/8 original version of “Rejoice greatly,” but Sicking effortlessly dispatched the virtuoso 4/4 revision.” 

Voce di meche

As Rosalinde, in Die Fledermaus

“Rosalinde has been invited, and is bent on getting even with her deceiving husband. She is disguised as a Hungarian countess and if the role could have been better portrayed by anyone but stunning soprano Haley Sicking, we have yet to imagine it. Her comedic skills are prodigious and her lusty soprano shone in the Czardas–an over-the-top Viennese interpretation of Hungarian “soul”. The scene of the husband trying to seduce his own wife was one of the many highlights of the evening.” – Voce di meche

Brooklyn Discovery

As Rosalinde, in Die Fledermaus

“The Rosalinde of Haley Sicking was a delight. Her generous and ample soprano and ironic touch was well used in the first act trio “Oh goodness me, what calamity, catastrophe” and her duet with Alfred “Here we are just you and I.” Ms. Sicking was truly compelling in “I hunger for my Hungary” in the aria “Echoes of Hungary” in the second act. Her vocal pyrotechnics rivaled Grucci’s 4th of July fireworks with cadenzas, strong coloratura and a held final note that stirred whatever gypsy is in my DNA. A truly bravura performance.” – Brooklyn Discover