Cindy Sadler, mezzo-soprano
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Acclaim

The Consul

"Cindy Sadler sang with an impressive contralto, and acted the role of The Mother with grace and vulnerability."
Rafael De Acha, SeenandHeard-International.com

The Daughter of the Regiment (Austin)

"The trio that follows is loads of fun, as the increasingly fraught Marquise attempts to teach the girl to sing properly, despite Sulpice's not-so-subtle melodic interjections of the 21st Regiment's fight song, "Rataplan." Mezzo-soprano Cindy Sadler and bass-baritone Stefano de Peppo know their way around occasionally oversize characters, creating well-rounded, memorable ones whether singing or speaking. Sadler's vapors-prone Marquise evolves into a redoubtable matriarch, and de Peppo's Sulpice shifts with ease between a leader of men and the tender father to the orphan Marie."
Robi Polgar, The Austin Chronicle

"Donizetti's comic operas are full of secondary roles that demand experienced and resourceful character actors. Mezzo-soprano Cindy Sadler sparkled as the Marquise de Berkenfield..."
Paul Robinson, LaScenaMusical.org

Romeo et Juliette (Atlanta)

"Cindy Sadler sang an agreeable Nurse Gertrude, her contralto voice lovely to hear."
Stephanie Adrian, Opera News

"Other notable standouts are ... mezzo-soprano CINDY SADLER making her Atlanta Opera debut as Juliet's nurse Gertrude — who shares occasional comic interactions with Capulet's servant Grégorio, sung by bass-baritone Alan Higgs, that imply something is going on between them. The entire cast is strong in their roles."
ArtsATL.com

The Daughter of the Regiment

"The opera’s sentimental moments are thoughtfully expressed — the love between Marie and Tonio and the final revelations of Marie’s aunt (actually, her mother), smartly portrayed and sung by Cindy Sadler. Lefkowich’s cast, a mix of local singer-actors and imports, is strong."
Michael Anthony, Minneapolis Star Tribune

"As the Marquise de Birkenfeld, Cindy Sadler manages to be both a fragile damsel, overcome by the sights and sounds of battle, and an imperious aristocrat, who expects her word to be taken as law, and she lends a strong mezzo-soprano to her part."
Arthur Dorman, TalkinBroadway.com

Sir John in Love

"Fine singing also characterized the rest of the cast... Cindy Sadler was a dark-toned presence as Mrs. Quickly in ‘Sigh no more, ladies.’"
Adam Keebaugh, Boston Classical Review

"Odyssey makes Sir John seem less like an opera than like an exquisitely acted play that happens to be sung... There are fine performances from Cindy Sadler as Mistress Quickly, Sumner Thompson as Dr. Caius, Robert Honeysucker as the Host of the Garter Inn, and the rest of the 23-member named cast, and the chorus, all boundless energy, is a joy throughout. Falstaff gets the last word, or rather, look, and it’s a look of love."
Jeffrey Gantz, Boston Globe

The Marriage of Figaro

"The Bartolo of Thomas Hammons and Marcellina of Cindy Sadler provided excellent comic support."
George Dansker, Opera News

"Bass-baritone Thomas Hammons and mezzo Cindy Sadler made a well-matched pair as Dr. Bartolo and his former housekeeper, Marcellina — who apparently did more than just keep house for him. The scene in which they are revealed to be Figaro’s long-lost parents is one of the funniest in the opera."
Dean Shapiro, The New Orleans Advocate

Romeo & Juliette (Austin)

"Standout performances included mezzo-soprano Cindy Sadler as the Nurse Gertrude, and bass Peter Volpe as Friar Laurence. As true, seasoned professionals, every moment they are on stage, they are a pure joy to watch. They both possessed a vocal timbre and powerful resonance that is rare and hard-to-find in the world of opera today; every facet of their characters were perfectly executed…not one opportunity missed. Every facial expression, every subtlety, every moment was expertly performed."
Michelle Hache, BroadwayWorld.com

Die Fledermaus

"The third female role — actually a male role sung by a mezzo soprano (or pants role, as it’s often called) — is the filthy rich (though eternally bored) Russian aristocrat, Prince Orlofsky, played here in masterful fashion by Cindy Sadler.

Sadler's husky speaking voice, which could easily pass off as that of a man, was couched in a thick and convincing Russian accent strong enough to land the actor a spot in the cast of the James Bond thriller, From Russia With Love. Sadler’s character was commanding and authoritative, drawing the eyes of all guests at the opulent ball in the tuneful drinking song Chacun à son goût, where the prince invites his guests to indulge their every pleasure.

Sadler's best singing of the evening came with the magnificent Champagne Chorus, a toast she delivered with great energy and drive. With the exception of an occasional tendency to allow her vibrato to cloud an otherwise handsome singing voice, Sadler delivered a most enjoyable musical and comedic effort."
David Abrams, CNY Cafe Momus

"The excellent cast was the strongest component of this production, and I haven’t a single complaint about any of the singing... CINDY SADLER was an impressive Orlofsky, deftly handling the vocal challenges and also enjoying the comedy. Usually Orlofsky is sung by a lyric mezzo, but Ms. Sadler lists quite a few dramatic mezzo roles in her bio, so she deserves kudos for negotiating the high tessitura of the role. I hope to see and hear more of her."
Taminophile.com

"The performance was effervescent, with the cast spinning magic as they sang Strauss's intricate vocal lines ...mezzo-soprano Cindy Sadler finds comfortable ground for her portrayal of Orlofsky, a trouser role that calls for balance between over dramatization and playing it straight."
Linda Loomis, Syracuse Post-Standard

Trouble in Tahiti/The Italian Lesson

"Sadler and Mungo both acted effectively to convey the sadness and emptiness stemming from the difficulties of sustaining a relationship in a materialistic world.

Sadler's big moments came in her garden-dream song and when her character recalls the 'awful' movie 'Trouble in Tahiti' in the 'What a movie!' scene. Mungo was best in his prideful 'There's a law' solo arias. Their ensemble singing was outstanding, too...

Sadler was a one-woman show to open the double-bill presentation with The Italian Lesson... As in Tahiti, Sadler acted the part well, portraying a woman enjoying life as best she can by valuing mundane tasks and finding strength in daily ritual."
David Hendricks, San Antonio Express-News

The Pirates of Penzance

"Other key performances came from Daniel Okulitch as the Pirate King, Cindy Sadler as the nanny-turned-pirate-wench, and Kevin Burdette as the Sergeant of Police, all of whom combined rich singing and broad physical comedy."
James McQuillen, Oregon Live

"As Ruth, the pirate wench, Cindy Sadler used her comic prowess to swab the decks and make her case for marrying Frederic."
James Bash, Northwest Reverb blog

Gianni Schicchi (As Stage Director)

"Opera Idaho is tapping into some of Boise’s best technical designers and reaching out to new directors. The result is an appealing and cohesive connection between these very different pieces …Gianni Schicchi is a hysterical romp … Originally set in 12th century Florence, it was updated to 1960s Boise by director Cindy Sadler. It offered a mix of dynamic voices and clever pop culture references … it was a hoot."
Idaho Statesman

Peter Grimes

"The rest of the cast was strong, from David Kravitz's warm, understanding Balstrode ... to Cindy Sadler's fidgety Mrs. Sedley..."
Donald Rosenburg, The Chautauquan Daily

"Cindy Sadler was a hoot as the town busybody, set to stick her nose into everyone's business."
Philip Plyer, The Jamestown Post-Journal

Faust

"Cindy Sadler is riotously funny as the man-hungry Marthe..."
Jeff Davis, Broadwayworld.com

"The brightest things on stage were perhaps the best collection of soloists I have seen from ALO... Cindy Sadler as Marthe made Act 2 a very funny and entertaining segment of the evening."
Pat J. Dixon, Austin Post

"The crowd was very grateful for a comic interlude between the devil and the bawdy Marthe (Austin's Cindy Sadler), with excellent timing and a fabulously drawn-out wink to the audience by Offenbach."
Luke Quinton, Austin360.com

The Most Happy Fella

"Cindy Sadler was quite good in the thankless role of Marie."
James D. Watts, Jr., Tulsa World

The Rake's Progress

"The mezzo-soprano Cindy Sadler was wonderful as Baba the Turk, an exotic bearded lady, a celebrity in London and beyond. With her flowing robes, deep voice and distinctive diction, Ms. Sadler made every phrase count."
Anthony Tommasini, The New York Times

"The charismatic mezzo Cindy Sadler delivered top-notch comic sparks as Baba, in her prattling aria over breakfast, and then in her dishware-smashing rage (the plates dutifully handed to her by her bored husband). However, she was also unexpectedly moving in her scene with Anne, emerging as surprisingly big-hearted when Baba encourages Anne in her continued pursuit of Tom."
Joshua Rosenblum, Opera News

"Still, one performer stood out above the others. That the bearded lady would steal the show may seem a given, but as Baba the Turk, mezzo-soprano Cindy Sadler surpassed expectations. With effortless command of the stage and her voice both her florid music and her arsenal of animated facial expressions were pitch perfect."
Ronni Reich, NJ Star-Ledger

"As Baba the Turk, Cindy Sadler almost made you forget she was a bearded lady, so much did she project matronly warmth behind extravagant egotism. You loved her from her first note - along with the rest of the opera."
David Patrick Stearns, Philadelphia Inquirer

"But then the composer undercuts the heroine's prima position by creating the totally over-the-top role of Baba the Turk, the histrionic bearded lady Tom eventually marries. Cindy Sadler took this role to the bank, to several financial institutions, and then to various jewelers."
Michael Redmond, The Princeton Packet

Vanessa

"Thomas Potter and Cindy Sadler were in excellent form in the character roles of the kindly family physician and the Old Baroness, Vanessa's disapproving mother."
John Fleming, Opera News

"It is rare when a performance has only rock solid lead performances. The Old Baroness is a small role vocally yet she has a lot of stage time in which her temperament remains one of quiet disgust. Yet Cindy Sadler is such a fine actress that there are moments when this mean old woman becomes almost vulnerable. Sadler's rich low mezzo is penetrating and her contribution to the quintet is especially pronounced."
Jeff Haller, www.ConcertoNet.com

"Of course, such a score must also rely on strong voices and acting skills, both present in abundance in this production The principal singers in this production are superb, especially Cindy Sadler as the old Baroness."
Richard Storm, Sarasota Herald-Tribune

"Sadler's Old Baroness is the unyielding, unforgiving, stiff-necked Victorian creature Menotti envisioned, but her rich, warm mezzo belies a woman inhabited by frustration Relieving this stony silence, Barber's music gives us the warmth that inspires hope. His soaring, meltingly beautiful melodies sit atop newer harmonies, giving life to a musical language that raises opera's emotional ceiling. None of this would be possible without the commanding vocal and dramatic performances of Thomson, Babcock, Sadler, Piper and Potter."
June Le Bell, Longboat Observer

"The Old Baroness is largely a silent sentinel but Cindy Sadler brought a moral authority and aged gravitas to her utterances."
Lawrence A. Johnson, South Florida Classical Review

"Cindy Sadler as The Old Baroness presents a harsh persona, unhappy with the goings on around her. She brings a gravitas to the proceedings, absolutely appropriate to the emotional climate of the household."
William S. Oser, TalkinBroadway.com

La Fille du Régiment

"Cindy Sadler, mezzo, showed an impressive range and warm quality as Marie's aunt."
Dana Oland, Idaho Statesman

Gianni Schicchi

"Cindy Sadler as Zita not only gave us her excellent singing voice but also turned in a comic acting performance worthy of the best of Max Sennett."
Toby Grace, Out in Jersey Magazine

The Marriage of Figaro

"David Ward's expert Bartolo and Cindy Sadler's amusingly overripe Marcellina emerged the most engaging people in the opera."
Mark David Ketterson, Opera News

"Equally riotous as Bartolo's housekeeper/mistress Marcellina . was the saucy mezzo Cindy Sadler ."
Bruce Carr, The Des Moines Register

"Dr. Bartolo (Paul Corona) and Marcellina (Cindy Sadler) are priceless as the conniving pair bent on getting Figaro. The farcical revelation is a highlight. All are strong in voice and show that Kentucky Opera does not scrimp on getting the best available talent in opera today."
J. Barrett Cooper, Arts-Louisville.com

Romeo et Juliette

"Cindy Sadler made a terrific and touching Gertrude with a powerful voice."
Jeff Haller, www.ConcertoNet.com

"Fine supporting came from American mezzo Cindy Sadler in a minor role as Gertrude, the nurse; she has a rich and distinctive voice, and she was charming in a bit of good stage business involving a gang of Capulet roughs and a sword."
Greg Stepanich, Palm Beach Arts Paper

"The rest of the principals bring the expected strong vocal talent but also unexpected acting skill: mezzo Cindy Sadler as the comical nurse"
Bill Hirschman, Sun-Sentinel

"The indispensable mezzo Cindy Sadler was in her usual excellent form as Juliette's nurse, Gertrude."
Mike Greenberg, www.incidentlight.com

Susannah

"... members of the James M. Collier apprentice program fielded an effective cadre of Elders and Biddies, led by Sadler's superbly bitchy Mrs. McLean ... "
Mark David Ketterson, Opera News

"And there isn't a single weak link among the supporting cast, with ... mezzo-soprano Cindy Sadler as the church ladies' ringleader, who has all the warm Southern charm of a prison guard."
Michael Morain, The Des Moines Register

Suor Angelica

"Puccini's opera revved to life, however, with the arrival to the convent of the wealthy nun's wicked aunt, the Princess, sung by mezzo Cindy Sadler, who commanded the stage throughout her brief appearance."
David Hendricks, San Antonio Express-News

Das Rheingold

"Cindy Sadler's Erda was strongly intoned."
Charles H. Parsons, Opera News

The Adventures of Pinocchio

"Supplementing the primary roles are a wealth of delightfully whimsical secondary characters, including scene stealing turns from . Cindy Sadler as the Snail."
Brad Richason, Twin Cities Performance Art Examiner

"Bottone invigorates each scene she is in with passion and whimsy. Equally charming is Cindy Sadler as the Snail."
Rebecca Mitchell, The Twin Cities Daily Planet

Cavalleria Rusticana

"The rest of the cast was vocally excellent as well . mezzo Cindy Sadler brought a nice character arc to her Mama Lucia while singing in a rich, full tone."
Jennifer Roolf-Laster, San Antonio Express

MacBeth

"The witches, with their off-kilter movement and wild costumes, are entrancing (particularly when joined by . Cindy Sadler as Hecate)."
Avimaam Siam, The Austin Chronicle

Il Trittico

"Mezzo Cindy Sadler just about stole the show as Schicchi's dragon lady Zita. Her comical turn as Frugola in Tabarro  also added relief to the gloom."
Theodore P. Mahne, The New Orleans Times-Picayune

"Gianni Schicchi … is an affair rising and falling on the power of the ensemble effort, although mezzo Cindy Sadler (Zita) …grabbed extra portions of the limelight."
Josef Woodard, Opera Now

"The audience was in awe and busting at the seams with … Gianni Schicchi. The comedy meant the return of the stars including the very charming Cindy Sadler …"
Felipa Solis, The El Paso Times

The Rake's Progress

"Cindy Sadler was an absolute scream as Baba the Turk, smashing china hysterically as her sledgehammer mezzo coruscated through the florid writing of 'Wretched Me'."
Mark Thomas Ketterson, Opera News

"Texas mezzo-soprano Cindy Sadler seems to have been born to sing the ridiculous but ever so human Baba the Turk."
Robert C. Fuller, Des Moines Register

The Crucible

"Cindy Sadler gave an imposingly sung and vividly acted performance as the slave from Barbados."
Richard Dyer, Boston Globe

"Opening Act IV, Tituba's song was striking... As Tituba, the Caribbean maidservant, Cindy Sadler was a real find. She had a deep, smoky contralto, with an exotic color that perfectly suited the music. This is a great Azucena in the making!"
Ed Tapper, Boston Bay Windows

"Kudos to Cindy Sadler. She gave an outstanding performance as Tituba. "
Paul Joseph Walkowski, OperaOnline

Elektra

"Of the maids who appear at the beginning of the opera, soprano Desirée Wattelet and mezzo Cindy Sadler were the most outstanding … Sadler because of her honeyed low notes."
Maria Nockin, Opera Japonica

Falstaff

"Of the Fab Four --- the quartet of ladies who constantly outwit their men --- contralto Cindy Sadler, as Dame Quickly the go-between, was always a thrill for her rich, satiny voice and effusive comic gestures that explained more than the English supertitles could."
Sharon McDaniel, Palm Beach Post

"As Dame Quickly, Cindy Sadler provided another highlight. Her rich mezzo was coupled with her obvious delight in tackling this meaty character role. Reminding one at times of Tenniel’s illustrations of the Duchess from Alice in Wonderland, Sadler unquestionably owned this part …"
Alan Becker, South Florida Sun-Sentinel

"Cindy Sadler’s Mistress Quickly was a riot. She sang with gusto in rich mellifluous mezzo tones so easy on the ear. Her scenes with Sir John, as she tempts him into the web that brings about his demise, were no less than brilliant; such two-faced mockery!"
Rex Alan Hearn, PGA C.A.N.

"Cindy Sadler threw her weight into the role of Dame Quickly and showed that for once the troupe had a prime buffo mezzo on hand."
Paul Hertelendy, artssf.com

"Cindy Sadler’s bustling Mistress Quickly is sheer delight."
Patrick Sinozich, Gay Chicago Magazine

Der Ring des Nibelungen

"The Erda of Cindy Sadler was nearly perfect."
Opernwelt

"Cindy Sadler knocked ‘em dead with Erda’s last-minute, nearly deus-ex-machina appearance."
Kenneth LaFave, Opera News

"Cindy Sadler displayed an opulent mezzo as the somnolent Erda."
Dorothy Stowe, Deseret News

"For two ‘Ring’ seasons in Flagstaff, Sadler has been a vocal and dramatic mainstay of Arizona Opera. The mezzo appears in all four of the Ring dramas … she brings to each a magnificent mezzo voice that is big, well-controlled, and always, always, unbelievably rich throughout its range. Her Erda … was an all-around masterpiece of operatic declamation."
Paul Sweitzer, Arizona Sun

"The great scene with Erda in Act III of Siegfried … is always thrilling theater, and with (Edward) Crafts … and contralto Cindy Sadler, a rich-voiced, pungent Earth Goddess, true frisson was achieved."
JA Van Sant, American Record Guide

Cold Sassy Tree

"She performed an important role in the opera remarkably well, creating a vivid characterization musically as well as dramatically that was very much the equal of her formidable predecessor in the role. Hers is an excellent natural voice, ample in sound and wide-ranging, and quite secure technically. In addition, she is an excellent actress and a genuine presence onstage."
Carlisle Floyd, composer, Cold Sassy Tree

"As the leading church lady, Cindy Sadler made an eye-rolling comic foil."
Michael Barnes, Austin American-Statesman

L'Italiana in Algeri

"Cindy Sadler was comically maternal in manner and tone as Elvira’s confidante, Zulma."
Scott Cantrell, Dallas Morning News

"Zulma was portrayed with determination and plush voice by mezzo-soprano Cindy Sadler."
Erik Eriksson, Green Bay News-Chronicle

"Cindy Sadler, in her role as Zulma, Elvira's personal slave, displayed a dark and effective voice and handled herself well onstage."
Terence O'Grady, Green Bay Press-Gazette

The Mikado

"In particular, mezzo-soprano Cindy Sadler forged the perfect marriage of acting and vocal expression to vitalize Katisha. Her true mezzo-soprano voice was absolutely present on the Act I finale, when she vowed vengeance against Nanki-Poo. And, at that point in every good comedy when the stereotype falls away and the character has a deep, sincere moment, Sadler beautifully conveyed Katisha's despair on the second act aria, 'Alone and Yet Alive'."
James O. Welsch, Syracuse Post-Standard

"Cindy Sadler commanded the role of the revengeful, 'sufficiently decayed' daughter-in-law elect Katisha."
Debra A. Moroff, South Florida Sun-Sentinel

South Pacific

"..first-rate singing … Cindy Sadler dignifies the role of Bloody Mary with some lovely singing."
Bob Nesti, Boston Herald

"William Thorpe and Cindy Sadler have experience that transcends opera, and it showed in their well-acted, down-to-earth Luther Billis and Bloody Mary."
Jeffrey Ganz, The Boston Phoenix

Madama Butterfly

"As the servant, Suzuki, mezzo-soprano Cindy Sadler sang with great depth and warmth."
Mike Greenberg, San Antonio Express-News

"Sadler's protective affection touchingly helps build the emotional house of cards that is the Act II Flower Duet."
Jerry Young, Austin American-Statesman

Cavalleria Rusticana

"The cost of the tragedy was best measured in Cindy Sadler’s affecting portrayal of Turiddu’s mother."
Jerry Young, Austin American-Statesman

The Magic Flute

"The Queen’s ladies … sing stylishly, especially Sadler’s lush contralto."
Orange County Register, Orange County, CA

"… rightfully comic and fine-voiced …"
Robert C. Fuller, Des Moines Register, Des Moines, IA

Faust

"Cindy Sadler was a charmingly good and funny Martha Schwerlein who delights as she matches wits with the devil."
Weekly Register-Call, Central City, CO

"Cindy Sadler’s Martha Schwerlein has the timing of one who knows how to extract a few chuckles from the audience."
Kay Turnbaugh, Mountain-Ear, CO

HMS Pinafore

"Cindy Sadler carries off the considerable character of sweet little Buttercup with grace, charm, and a great deal of gusto --- not to mention a genuinely gorgeous voice."
Rachel Jenkins, Daily Texan

The Verdi Requiem

" …Cindy Sadler’s mezzo-soprano was gorgeously lush throughout the range …"
Duncan Goodrich, Austin American-Statesman

Elijah

"Mezzo-soprano Cindy Sadler brought rich low notes and smooth phrasing to what is a less than flashy part."
David Mead, Austin American-Statesman

Viva La Opera!

"…the soloists stole the show. Velutinous-sounding mezzo Cindy Sadler pulled off the most dramatic scene as Amneris from Aida."
Michael Barnes, Austin American-Statesman