“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
“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, th e 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
