The soprano of Laura Heimes, given the lion’s share of the singing as Susanna [Stradella La Susanna], was balm to the ears. Her tones were perfectly floated over the ensemble, and her willingness to sing softly made her a Susanna of beauty indeed.

New Jersey soprano Laura Heimes alone was worth the price of a ticket. Her clear, expressive sound soared beautifully above the ensemble.

Heimes sang with a strong pleasing soprano. The beautiful melodic passages were enhanced by the emotional vocal deliveries and dramatic gestures of the couple exchanging loving glances and embrace.

Laura Heimes did an excellent job in the starring role [Xerxes], conveying the zaniness of a mercurial figure whose most famous song is a declaration of love to a tree, and bringing off his tantrums of biting rage with a warm, strong voice and aplomb.

Transcendent, text-alert soprano Laura Heimes.

Soprano Laura Heimes brought shining sound, utmost taste and wonderful flexibility to all of her Monteverdian duties.

Soprano Laura Heimes sang it [Handel Gloria] beautifully, with nicely shaped dynamic contours, delicate ornamentation and a firm clarion tone.

Heimes lingered tenderly on the vowels and sang in a gorgeously transparent voice.

The “Laudamus te” [Bach’s B Minor Mass] featuring radiant soprano Laura Heimes was touching.

The most attractive aria [in Caldara’s Il Giuoco del Quadrilio] goes to Laura Heimes who holds most of the vocal aces. 

Laura Heimes ornaments imaginatively.

Soprano Laura Heimes sang Dowland with an impressive mix of poise and emotion, but relished the comic opportunities of the final pieces by Handel, Thomas Arne, William Boyce and two lesser known composers.

Ms. Heimes set the vocal standard for the evening with crisp ornaments and smooth coloratura. The first act light and tripping “Pursue thy Conquest Love and subsequent “Haste, haste to town [as Belinda in Purcell’s Dido and Aeneus] presented the sparkling singing that Ms. Heimes does best.

Soprano Laura Heimes sang Belinda with exceptional tone and mannered acting. Heimes, now Cupid (in Blow's Venus and Adonis) sang with an appropriately childlike bell tone and pranced mischievously.

Soprano Laura Heimes was fabulous as Cupid in Blow's opera. She possesses not only a wonderful soprano voice – yet focused and seemingly free as a bird – but is also a magnetic presence on stage.

The most radiant singer was a non-combatant, soprano Laura Heimes as Mary Magdalene. Her conflicted aria such as In un bivo found beauty in the pain of struggling with a difficult choice. Later, Pompe inutile conveyed her feverish intensity through rapid melodies and strong resolve.

Heimes' delicate, sweet tone was equally velvety up and down her registers.

Piffaro knows how to swing in Latin repertoire, while also playing with typical, sturdy spiritedness. That, plus the shapely phrasing and interpretive heat of soprano Laura Heimes made the concert a great experience.

Although all of the musicians made excellent contributions to the overall music making, it was Heimes' work that most stood out. She sang with refinement of tone, clarity of diction, elegance of phrasing, perfection of pitch and commanding comprehension of both the style of the music and its emotional content rarely heard among singers.

Among the guest soloists, soprano Laura Heimes was especially fine, with an agile voice and focused sound that, when required, easily penetrated the surrounding instrumental and choral texture.

Heimes sang with brilliance, delicacy and humor, evoking the period atmosphere in her dress, hairstyle and demeanor.

Soprano Laura Heimes supplied the sparkle and humor in Triomphe de L'amour's celebration of 18th-century London concert halls. In a series of songs and secular cantatas, she exemplified the joy and wit-and probably the great relief- of post-Cromwellian English society.

Laura Heimes' diamond clear soprano is a perfect match for the straightforward lyricism of Telemann's arias.

Whenever Heimes joined the group the music making achieved an exalted level of technical proficiency and interpretive cogency, led by Heimes' creamy toned, vibrantly phrased and dramatic focused singing.

The two cantatas [Clerambault's Orphee and Samson] provided Heimes with the perfect vehicles to display her beautiful artistry and transcendent artistry. She floated her perfectly supported and projected tones of infinite variety out into the sanctuary with technical ease and interpretive intensity, delineating the meaning of the text with powerful efficacy.

Appearing with Piffaro was soprano Laura Heimes, whose pure angelic voice was perfectly suited to this style of singing.

Soprano Laura Heimes and baritone made the most of the semi-staged performance (Coffee Cantata). It was all sung in deliciously punchy English so there was no mistaking the byplay and the modernisms. The acting was funny and had the air of being on the spur of the moment

It was grand fun. Heimes and baritone were brought back to the stage many times. Instrumentalists and singers were applauded enthusiastically. Many felt that the evening was as much pure fun as they could remember at a concert in quite awhile.