“But the real jolt came via J.S. Bach's "Coffee" Cantata, given even rarer treatment in the form of a semi-staged production…Healey, playing the daughter, pranced around the set of tables and chairs like a rebellious teenager, sneaking cups and offering sips to the musicians. To her two glorious arias, meanwhile, she brought a fetching combination of vocal radiance and dramatic awareness that brought the quirky tale to life. – Cleveland Plain Dealer
“Madeline Healey’s strong, clear voice and supple delivery beautifully suited the frequently ornate music Bach wrote for [teenage coffee-addict] Lieschen, and her acting fit the character of a dizzy daughter like a glove.” – Cleveland Classical
“soprano Madeline Apple Healey was sprightly, then tender in “Rejoice greatly.”— New York Times
“Madeline Apple Healey offered some gorgeous singing in a murderously high and sadly brief soprano part” — Washington post
“Soprano Madeline Healey’s clear, ringing voice soared in the sequence beginning with “There were shepherds” before an infectious “Rejoice greatly.” – Washington Classical Review
“And what a lovely voice… within her apparent three octaves, the voice could be resounding or whisper-soft or even growl at times. So beguiling” – concertonet.com
“this lovely cradle song gave Healey’s clear, supple voice lyrical, undulating lines, graceful melismas, and the opportunity for a brief, stylish cadenza. Later in the program, Healey returned for dashing performances of back-to-back Handel arias, this time allowing her to show off her brilliant passagework and vocal technique.” – Cleveland Classical
And Healey, accompanied by two lutes (Grant Herreid and Daniel Swenberg), gave an elegant reading of Amor insegna no aver timore (“Love teaches one not to be timid”) – Broad Street Review
