“Sarah Moulton Faux, a winsome blonde, made a bright-eyed, bright-voiced Zerlina to Dan Boruchowitz’s healthy-sounding, aptly oafish Masetto. Faux also boasted the most relaxed and stylish handling of the recitatives…”
Louise T. Guinther, Opera News – June 2015
Stunning Sarah Moulton Faux returns to the Brooklyn stage as Adina. Her flawless soprano voice and wonderful stage presence are not to be missed.
Cliff Kasden, A View From The Cliff, Brooklyn Home Reporter – May 12-18, 2017
Valencienne was sung by Sarah Moulton Faux. Her beautiful lyric soprano sparkled magically in her duet with her suitor Camille de Rosillon, and she was a fine actress. Their rhapsodic duets together made for a profound sigh for love-illicit or not! Her voice echoed with longing and had a golden sheen.
Brooklyn Discovery – Nino Pantano – December 5, 2015
Stunning Valencienne is played by Sarah Moulton Faux. Her stage presence and excellent musical interpretations are a true delight.
Cliff Kasden, A View From The Cliff, Brooklyn Home Reporter, November 25, 2015
His daughter, Gilda, is played by stunning soprano Sarah Moulton Faux. In her solos and duets, she is absolutely mesmerizing. Her mastery of the role is wonderfully obvious. Brava!
Cliff Kasden, A View From The Cliff, Brooklyn Spectator – May 22-28, 2014
“Soprano Sarah Moulton Faux was impressive as Gilda. From the moment she first opened her mouth on stage we were struck by the freshness of her talent. She achieved a purity of sound as she belted out many of her most poignant lines. Her singing is truly angelic, rivaling even the experience of hearing Sonya Yoncheva in this role at the Met this season. Moulton Faux embodied all the piercing lyrical innocence demanded of a moving Gilda with perfect Italian diction. Her rendition of Caro nome was pure bravura and her duets with Rigoletto heart wrenching. She also really carried the quartet in Act III, Bella figlia dell’amore, with the force of her sustained high notes, her voice taking the harmonies of the other three voices into the upper atmosphere, both striking like lightning through the tempest and rising up above the storm clouds of the opera’s grand finale. She was a revelation.
…The finale was beautifully executed in its simplicity. Peter Hakjoon Kim and Sarah Moulton Faux gave a wrenching rendition of the closing duet in which Gilda dies in her father’s arms. There is no need for anything fancy here, which is exactly the way they did it. Front and center they exchange their final words. The whole thing was beautifully paced, with conductor Gregory Ortega guiding the singers through this climactic moment with such clarity that both Mr. Kim and Ms. Moulton Faux were able to wring every last drop of emotion out of the tear ducts of Verdi’s score. It was just fantastic and it left us utterly devastated, just as a great Verdi opera should, drying the tears from our eyes as the house lights came up and the cast took their bows.”
Allegri con Fuoco – May 25, 2014
Stabat Mater – Symphony in C Orchestra
Moulton Faux “has a fine sense of Baroque style.”
Philiadelphia Inquirer – December 13, 2010
“Von Winter’s talent shines through in the volktson of Papageno and Papagena’s music, especially their Act I duet and Papageno’s melancholic Act II aria “Nun adieu!” which parallel Mozart’s famous duet for the pair and Papageno’s suicide aria. Jonathan Scott was an ideal Papageno, with excellent diction, an easy stage presence and flawless legato that poured forth through a well-projected tone. His Papagena, the feisty Sarah Moulton Faux, sang with a full, silvery soprano. They were surrounded by a gaggle of miniature Papagenos (the adorable Amore Opera Children’s Chorus) wrangled by baritone Gary Giardina as Papa Papageno and soprano Trudy Wodinsky as Mama Papageno, two experienced character singers whose enthusiasm rivaled that of their younger counterparts.”
Opera News – Steven Jude Tietjen – January 2014
“The star, in Schikaneder’s feathers, was Jonathan Scott, a bass-baritone of lithe and masculine tone and a master of the dim double-take, suavely dressed in tatterdemalion. He was well matched with his Papagena, Sarah Moulton Faux, in both dulcet cries and comic sputters, who flopped her silly costume to fine effect.”
Parterre.com – John Yohalem – October 17, 2013
“Her Giulietta for “Si fuggire” was the lovely soprano Sarah Moulton Faux who beautifully handled the trills and scale passages. The harmony in thirds was glorious to the ear. There is nothing faux about Ms. Faux. She is the real thing and was just as winning as Amina in “Son geloso” from Bellini’s La Sonnambula.”
Vochedimeche.blogspot.com – November 24, 2014
“Sarah Moulton Faux as Rosina is the news. From the moment she appears in her window, imprisoned by a guardian who wants to marry her, with no escape routes in evidence, the audience is entranced. She is a winsome beauty with a voice to match. As she darts around the stage, staining her fingers with ink trying to write her way out of the clutches of Bartolo, and dropping notes and hints all over the place, her voice is a hearty, ringing tone of beauty. She is lyrical, but occasionally rough around the edges, and these extremes tug at the heart. Not for a moment did I wish for the mezzo which some prefer in the role. Faux throws herself into Rosina, and is charming as the willful, conniving ward.”
BerkshireFineArts.com – Susan Hall – January 2, 2012
“It was an intimate gathering where the guests were dazzled by the voice of Sarah Moulton Faux…I was not expecting such a powerful voice from Sarah, who is so petite, and was blown away by the talent on stage.”
Southampton Press – Greg Delia – August 11, 2011
“The undisputed star of Friday night’s concert, however, was Sarah Moulton Faux’s dress. She is a beautiful young woman who can sing and act very well, and has a couple of other talents to recommend her. I did wonder if the arias she performed so well really gave us a full picture of her voice. I hope to hear more of her in the future.”
Taminophile.com – March 21, 2011
“Moulton Faux sang with agility and thoughtful shape to her phrases.”
Courier Post – December 13, 2010
“The concert’s second half offered rapture rather than rigor: a stirring rendition of Pergolesi’s Stabat Mater with countertenor Anthony Roth Costanzo and soprano Sarah Moulton Faux…The soloists and their period-appropriate gestures and ornaments were wholly compelling…(their duets) were finely blended, as they capably matched trills and leaps and navigated lightly dissonant clashes….Moulton Faux sang with agility and thoughtful shape to her phrases.”
Courier Post – December 13, 2010