Reviews
Shattering more than just glass
Pamela Hinchman began her performance with a piece by W.A. Mozart and then did other songs from opera’s, by other composers who’s names I didn’t catch, since I was much too delighted to keep my wits and take notes. Her voice - a warm, full-bodied dramatic soprano, and her singing, a perfect example of roundness of tone and clear throughout her range, whether it was her ringing top notes or her velvety mid range or her impeccable lower register, it was a commanding voice and delivery. But what really got through to us in the audience was the expression with which she conveyed the feeling of the music though we were clueless about the words, and got us involved with the song. Her performance was truly a dramatic and wonderful experience, and the audience was as awestruck by her beautiful voice and her obviously expert singing technique, as by her stage presence and personality. Praytap Anthony The New Indian Review, Friday, April 25--
"Peace is not about the absence of war but the presence of love. Soprano singer [Pamela Hinchman] whose love connection with music has the capacity to connect and heal the bonds of our humanity."
Ulan Bataar Times 2009
As Susanna in Le nozze di Figaro:
“Figaro couldn’t have a more irresistible Susanna. As sung and played by Pamela Hinchman, Susanna cast a glow into the theater whenever she was onstage. Hinchman’s bright, agile soprano projected beautifully, whether she was chastising her supposedly unfaithful fiancé or caressing a phrase in his praise. She was an utter delight.”
-Cleveland Plain Dealer
As Adele in Die Fledermaus:
“Adele seemed second nature to Pamela Hinchman, who, with bell-clear soprano and winsome portrayal, nicely contrasted her earthy chambermaid with the majestic, feminine Rosalinde.”
-Opera News
“The best singing onstage came from the charming Pamela Hinchman, who gave the maid Adele a twinkling soubrette voice. Her coy ‘Laughing Song’ in Act II was one of the highlights of the show, sweet and just a tad naughty.”
-New Orleans Times-Picayune
“Petite Pamela Hinchman was a delightful Adele, whose vocal agility and personal magnetism made true showstoppers of her second and third act arias.”
-American Record Guide
As Adina in L ‘elisir d’amore:
“Hinchman was in full control of her character. Adina is frequently presented as a thoughtless valley girl with romance as her ruling passion, but as portrayed by Hinchman, she seemed to have learned a little compassion from those books she’s constantly reading. Her rejection of Nemorino was a study in sensibility colored with kindness. Her flirtation with Belcore was imbued with the knowing wink — this Adina was not falling in love with a uniform. And her reaction to Dr. Dulcamara’s story about the depth of Nemorino’s love was emotionally affecting. Hinchman was no chirpy canary - her voice was more spinto than purely lyric. And her singing was far less ornamented than usual — but she had no difficulty in reaching her high notes or in being heard over large ensembles.”
- Nashville Press
“Soprano Pamela Hinchman, with confident coloratura and saucy manner, reigned supreme as Adina, Through jaunty ensemble pieces, she maintained glorious vocal textures, aspiring to bravura passages in Act 11 before undergoing a radiant transformation both vocally and in demeanor. No matter the mood of the character, the audience absolutely adored her, and rightly so.”
-Chattanooga Times
As Zerlina in Don Giovanni:
“Playing the part of Zerlina, soprano Pamela Hinchman was a dynamo onstage. Able to lift her music while performing excessively active scenes with Masetto, Hinchman’s tiny frame was no indication of the powerhouse within.”
-Pittsburgh Post
"Playing the key role of Adina is Pamela Hinchman, a spirited and lively coloratura who gives richness and realistic depth to her character... she commands the stage.”
-The Tennessean
“Pamela Hinchman as Adina, the romantic heroine, was petite but had a big soprano voice that sometimes rang our over the whole company. She made a wonderfully flirtatious little minx, whose true virtues would eventually emerge.”
-Chattanooga Free Press
As Norma in Don Pasquale:
“This is an opera with only one feminine role. It, too, is demanding of high vocal and acting skills, and Pamela Hinchman meets the tests with high marks.”
-Louisville Music News
“Pamela Hinchman as a quintessential Norma was quite the match for Davis’ Don Pasquale, her phenomenal bravura coloratura wed to an audacious visual portrayal of a spunky young woman capable of deceiving the old man with mischievous abandon. The soprano... delivered Norma’s famous Act 1 aria and the mellifluous lovers’ duet... in Act 111 to enchanting perfection. In addition, her Act Ill duet with Davis, where Norma shows pity after slapping Don Pasquale’s face, was the dramatic highlight of the opera, living up to the musical and emotional depth ascribed by the composer.”
-Chattanooga Times
‘Pamela Hinchman (Adele) is to be commended for her projection of the sung text.”
-Opera News
“Hinchman’s bright soprano coped easily with the famous “Laughing Song”.
-New Orleans Advocate
“Pamela Hinchman’s Adele was as charming a canary as ever laughed her way through a “Laughing Aria’. She also showed enormous poise: in Thursday’s third act she was dressed ii a badly designed costume that resembled something Miss Kitty would have worn on ‘Gunsmoke’. As she bravely sang one of her most difficult songs, her skirt began to creep inexorably away from its underpinnings — she completed the aria with nary a vocal hitch.”
-Mobile Press Register
“Pamela Hinchman’s Zerlina was charmingly portrayed, her arias nicely delivered.”
-Opera News
“Pamela Hinchrnan is an adorable Zerlina, easily able to wrap her perky soprano around the music and melt her fiancé...”
-Cleveland Plain Dealer
“…the perky sweetness of Pamela Hinchman as the peasant girl Zerlina shone in the cast... .with Hinchman as Zerlina, a ray of sunlight with a hint of earthy naughtiness...”
-Grand Rapids Press
As Kathie in The Student Prince:
“Pamela Hinchman was very convincing in this role, Her light, flexible, brilliant voice and vivacious personality are absolutely ideal for operetta roles, although she has scored great successes recently in a number of major operatic roles as well. Hinchman’s high C’s in ‘Come,Boys’ are totally thrilling, and she shines in other numbers as well.”
-The Herald Journal
“The cast in comprised of a very attractive group of up-and-comers who have the right look for their parts and who sound good, too. The waitress, Kathie, is portrayed by Pamela Hinchman, who sustains many a high note without losing her smile, and displays charm enough to make Karl Franz’ dilemma plausible.”
-Salt Lake Tribune
