Dragus Maximus: a homersexual opera odyssey | Heartbeat Opera, October 2018

“Soprano, Nicolette Mavroleon sang a virile and playfully menacing Nero with her aria "Come nube che fugge dal vento" from Handel's Agrippina. Her fioratura was impeccable and she never yielded the suggestive sparkle in her eye or in her tone.”

-Lara Secord-Haid, Schmopera


Hatuey: Memory of Fire | Peak Performances, September 2018

 “The members of the strong cast were all amplified, sometimes too closely…Nicolette Mavroleon’s dusky soprano could probably have shone unaided. But all were comfortable in the transitions from spoken theater to song, and the frequent dancing was more than persuasive."

 -Corinna da Fonesca-Wollheim, The New York Times

“Another key performance came from soprano Nicolette Mavroleon, as Kasike, the tribal leader, who sang intensely and was riveting to watch.”

-Richard Sasanow, Broadway World

Nicolette Mavroleon has stage confidence and a soprano of distinct potential, as both a confidante of the rebels and a Cuban princess martyred by the Spanish.

-John Yohalem, Parterre Box

Soprano Nicolette Mavroleon was another well-rounded performer. Her glorious singing of the role of Kasike, leader of the Siboney (a Taino tribe), made us feel that people’s raw pain.”

-Anne E. Johnson, Classical Voice America




La Bohème Warhola | Pittsburgh Festival Opera, July 2018


“Nicolette Mavroleon (Musetta) instilled into her role the vocal opulence and comedic acting that made the listener wish that Puccini had given the character more to do..."


-George B. Parous, Pittsburgh in the Round



The Giulio Gari International Vocal Competition Winners' Concert | September 2017


“Soprano Nicolette Mavroleon sang “Depuis le jour” from Charpentier’s Louise. This aria is a glittering showpiece...and is a test of vocal endurance. Ms. Mavroleon sang some stunning stratospheric highs and gave a virtually flawless performance of this captivating aria...We look forward to hearing Ms. Mavroleon soon. She is of Greek descent like Maria Callas and generates a special magic!”

-Nino Pantano, Brooklyn Discovery


Agrippina  |  The Juilliard School, February 2017


“The young cast was dramatically alert and engaged...Nicolette Mavroleon’s unconventionally produced but compelling voice lent color to Nerone.”

-David Shengold, Gay City News


“[Agrippina] begins plotting to install her son from a previous marriage, Nerone--here, a sort of feral child/nudnik very well sung by soprano Nicolette Mavroleon--on the throne, simultaneously giving herself some power.”

-Richard Sasanow, Broadway World

Flight  |  The Juilliard School, November 2016

“In general, the cast consisted of solid actors and capable singers. Matthew Swensen and Nicolette Mavroleon, as Bill and Tina, had a naturalistic affinity, at once intimate and delicately at odds—like a real married couple; at first, they sang with the sweet tones of a Disney prince and princess, but soon they became either expertly defensive (him) or excellently nagging (her).”  

-Henry Stewart, Opera News

“The cast was uniformly top-drawer, showing good comic chops along with fine vocal training...Tenor Matthew Swenson and soprano Nicolette Mavroleon get the bickering just right as Bill and Tina, trying to put some zest back in their relationship...”  

-Richard Sasanow, Broadway World

“Estuvieron también a muy buen nivel los otros tres personajes femeninos: la soprano de New Jersey Nicolette Mavroleon fue una deliciosa Tina, a la vez graciosa, a la ver ingenua...”   

(The other three female characters were also at a very good level: New Jersey soprano Nicolette Mavroleon was a delicious Tina, at times funny, at other times the ingenue...)          

-Pedro J. Lapeña Rey, Codalario