For LoftOpera’s Così fan tutte 2016:
"I believe that the evening’s success truly hinged on the charisma and talent of the four young lovers. As Fiordiligi and Dorabella, Megan Pachecano and Sarah Nelson Craft were excellent, believable within their roles, while remaining vocally reliable... both singers were able to build fully realized characters."... "Craft’s fluid, robust singing"..."the pliant and luminous Craft." –Parterre Box
"As is usual in their productions, LoftOpera presented a strong vocal cast. From all the singers one felt a great love for this music, and it was a great pleasure to watch and hear the interplay among them... Mezzo Sarah Nelson Craft, the Dorabella, was best in her ensemble numbers: her warm, rich voice brought out the magic in Act I’s “Soave sia il vento” and Act II’s “Il core vi dono.”" –Opera News
“LoftOpera’s casting is, as usual, acute… For a staging set among high schoolers – appropriate for this tale of innocence yielding to experience – the company selected four singers who could pass for teenagers, the boys goofy and the girls preening”… “Megan Pachecano sang Fiordiligi with a lucid soprano, blending easily with the soft-grained mezzo of Sarah Nelson Craft”… “the kids’ interactions were gentle, tender.” –The New York Times
"As is also generally the case at LoftOpera, casting was both offbeat and deeply satisfying.
...the warmly romantic vocalism of Sarah Nelson Craft as the younger Dorabella" –New York Observer
“The singers were cutups, confident and funny on stage, and vocally adept […] Sarah Nelson Craft sang the earthier Dorabella deftly and her droll face can convey any emotion, often two or three at once. I was grateful that she played the younger sister without the sluttishness too many directors impose.”
"Her pliant mezzo turned passionate... convincing in her transition to love with a new partner."
For Carnegie Hall’s The Song Continues “Spotlight Recital” – January 2016
“Craft’s slim, silvery mezzo gained color and security over the course of the one-hour program, with Debussy’s Chansons de Bilitis the highlight of the evening. The weight and timbre of her voice perfectly suited Debussy’s sinuous caresses. Especially in “La chevelure,” Craft fully inhabited the music with intensity and focus, but she was exquisite in all three songs… specificity and confidence [was] displayed here… [She] dug deeper in three Schubert songs, with a touchingly bereft “Heimliches Lieben,” a glowing, focused “An die Sonne” and an affecting, genuine “Gretchen am Spinnrade.” Her wry humor informed Mahler’s “Rheinlegendchen,” and she found richer notes alternating longing and determination in “Scheiden und Meiden.” Ginastera’s Cinco canciones populares argentinas revealed still more hues, with the frenzied mating call of “Chacarera,” the gentle lull of “Arrorró,” and the mournful “Triste,” in which Craft unleashed solid, impassioned high notes.” –Opera News
“It would be impossible to have heard her hour long Spotlight Recital last night without being swept along in a tidal wave of affection for the art of the song. It is rare to hear a recital without a single moment of boredom… Ms. Craft really knows how to get a song across and employs facial expression and gesture as well as vocal coloring. It is never excessive but always tasteful. She is a born storyteller and one can readily visualize the scenes about which she is singing. She truly inhabits the song and makes it hers, as if she were making it up on the spot… the use of vocal color and dramatic expressiveness brought the songs to vivid life… We felt as if we were living this scene along with her.” –Voce di Meche
For Hasse’s Piramo e Tisbe with LOTNY:
”Sarah Nelson Craft sang Piramo with a pleasing, well-formed mezzo… presented the drama well in [her] big scenes.”
For Bach New Year’s Eve with Amor Artis Chorus and Orchestra – December 2015
“Along with extra energy from the soloists, mezzo-soprano Sarah Nelson Craft gave a particularly mesmerizing reading of the Agnus Dei. Her voice flowed with a smooth, honeyed quality that seemed to trickle down the church’s thick stone pillars. That she and the orchestra blended so well was further tribute to the chemistry with Brandau and his focused direction.” –Seen and Heard International