“Emily Noël sings both works with an alluring clarity and fluidity.”

            Allan Kozinn, The Wall Street Journal


“Strikingly lovely voice.”

            Anne Midgette, The Washington Post


"Noël’s voice gleams with the enthusiasm of new discovery… Noël’s voice, a versatile and splendidly-trained instrument, is always diverting but is exquisitely beautiful… her flawless placement of tones throughout the range supported by enviable diction… with impish humor and playful but polished musicality. The lulling motion of the sea cascades from Krash’s fingers, buoying Noël’s shimmering singing."

           Joseph Newsome, Voix-des-arts


"Singer Emily Noël negotiates the challenges with seeming ease, and is possessed of a pleasant and well-placed voice that is a joy to listen to."

           Fanfare Magazine


"Sulpicia’s Songs... radiantly sung here – as are the Martin Codax Cantigas – by Emily Noël."



"Soprano Emily Noël gave sparkling performances of polished Claudio Monteverdi songs, as well as more homespun English ballads in a sort of entr'acte of groundling music"

            The Washington Post


“Making the softly-luxuriant music more animated and more immediate was Emily Noel, a soprano with a velvety voice/timbre and an accomplished vocal technique. The extra attraction of a great deal of charisma added to her communicative skills. The luscious vocal selections were the highlights of the afternoon.”

            The Catskill Chronicle


“Noel’s sparkling soprano was extraordinarily expressive, agile and exhilarating. Together [with countertenor Chris Dudley] their intonation was immaculate, their phrasing intense and intuitive.”

             WHRO FM


"In addition to the superb instrumentalists (a couple of bagpipes made a delicious appearance along the way), Peabody-trained soprano Emily Noel offered deftly sculpted singing. A classy enterprise all the way."

            The Baltimore Sun


“The best were the “Seven Songs of Love” by 13th-century composer Martín Codax, given narrative urgency by Noel’s limpid soprano.”

            The Washington Post


"Unaccompanied pieces with the four guest singers were the highlights, especially Josquin's celebrated motet "Ave Maria… Virgo serena."  Soprano Emily Noël and tenor Aaron Sheehan stood out for their sheer vocal beauty, featured prominently in Bartolomeo Tromboncino's "Ave Maria" and Josquin's rather marvelous "In te Domine speravi."

            The Washington Post


"Singer Emily Noël adds a fine shining soprano."

           The Washington Post


“Emily Noël offers tonal warmth and highly expressive phrasing as Dido.”                                     

            The Baltimore Sun


“The Sinfonia was stymied by the last minute illness of the scheduled soprano...Emily Noël, her fresh-voiced replacement, did a superb job in an unfamiliar repertoire.”

            The Washington Post


With her warm clarion voice and shimmery vibrato, soprano Emily Noël displayed a lyrical storytelling style in John Dowland’s “The Lowest Trees Have Tops” and a lark-like quality in William Byrd’s “Though Amaryllis Dance in Green.” Her best moments came in the pure tonality of Robert Johnson’s “Have You Seen the Bright Lily Grow” and the heartbreak of Charles Coleman’s “Venus Lamenting Her Lost Adonis.”

           Grace Jean, Washington Classical Review


"The aptly named soprano Emily Noël, heard with the Folger Consort and Derek Jacobi in October did most of the heavy lifting vocally. Her light soprano was limpid and clear in the beautiful Annunciation carol Angelus ad virginem. Her appearance as the angel, accompanied by bells, is the production’s most memorable moment (costumes by Adalia Tonneyck), her glassy voice ringing out on an excerpt of the Gloria chant from the Sarum rite, and a return of Angelus ad virginem." 

           Charles T. Downey, Washington Classical Review


"Sopranos Crossley Hawn and Emily Noël had the most consistently beautiful sound, floating together in twin parts, as in Michael Praetorius’s dance-infused Puer natus/Ein Kind geborn. Combined with alto Lucy McVeigh and bass Steven Combs, the sopranos were outstanding in Praetorius’s unaccompanied setting of the homespun tune “In dulci jubilo,” one of three joined together in this concert."

           Charles T. Downey, Washington Classical Review


"There is a totally breathtaking theatrical moment as an Angel appears (the elegant, splendid soprano Emily Noel) to speak and sing a prophecy." 

            DC Metro Theater Arts


"The actors join in at times for some rousing song with the Folger Consort’s Emily Noel offering a particularly charming and ethereal voice, especially as a magical visitor from on high." 



"Most notable is the lovely voice of the featured singer Emily Noël who also brings her soaring soprano to the role of the Angel."

           DC Theater Scene


"[The Angel] (Emily Noël); both its appearance and its effect in removal are heavenly and fully completely the illusion for Noël’s arrival in her true state. While there is singing aplenty throughout the performance, there is none so sweet as when Noël takes to delivering it. With a voice akin to her character’s namesake, the radiant resplendence of heavenly light arrives in 'Gloria in excelsis deo', serving as the vocal harbinger to the true plot’s message." 



“Noël’s energetic characterization of “Komm, komm, mein Herze” from Kauffmann’s cantata made the aria sound better than it really was, and her duet with Humphries in the aria that opens BWV 23, the two voices ably navigating Bach’s intricately intertwined melodic lines, helped reestablish Bach’s supremacy.”

            DMV Classical


"The play's high point is the appearance of the Angel (Emily Noël) on the balcony above the Folger stage. Noël's clear and brilliant soprano announces the birth of Jesus Christ." 

           Theater Mania


"The voices of the cast once singing begins seems suited to the whole earthiness of the proceedings - real people with real voices. But then soprano Emily Noël performs with the consort and lifts everything to a higher level." 

          Broadway World


"Emily Noel’s celestial soprano as the angel in “Gloria in excelsis deo” and the ensemble singing of  “Coventry Carol” deliver goose-bump moments."

           Culpeper Times


"We get a sample of this with the carol "Nowell, Nowell," in which Noël, a sumptuous soprano, starts off the song and is joined in counter melodies by first Cackley, then Reese, and finally Meyers with his trombone." 



"Then, at the behest of a truly amazing singing angel with a transporting voice (Emily Noel), the shepherds journey to a manger to witness Christ’s birth." 



"...with detailed arias by the four soloists, particularly soprano Emily Noël and bass Steven Combs."

           The Washington Post


“Emily Noël used her pure soprano effectively as Jephtha's daughter....Duets with Noël were exquisite”

            The Baltimore Sun


“Both vocally and dramatically, Emily Noël provides a riveting portrait of a tormented and abandoned woman.”

            Baltimore Theatre Journal


“The solo quartet again made some vibrant contributions, with some especially sweet tones from Noel.”

            The Baltimore Sun


“Emily Noël proved accomplished at portraying the girl’s shaken emotions.”

            The Baltimore Sun


“Emily Noël, as Aeneas' wife Creusa and Dido's companion Anna, sang with moving power and did nothing without charging it with meaning.”