The News & Observer - Apr 10, 2004

by ROY C. DICKS, Correspondent

Duke Symphony's 'Barber' makes the cut: "Natalie Havemeyer was youthful as maid Berta, and her attractive mezzo was impressive in her second act aria."

www.cvnc.org, April, 2004

by Elizabeth and Joe Kahn

The Opera at Duke University's Il Barbiere di Siviglia: "In the lesser roles of Bartolo's housekeeper Berta, Mezzo soprano Natalie Havemeyer's acting was a delight, her gestures and face mirroring every ache and grievance of the lowly servant's fate."

Opera News Online - April 2002

by David Shengold

"Others offering staunch support included Natalie Anne Havemeyer as a Lainie Kazan-like Isabella (in von Suppe’s Boccaccio)."

The Denver Post - Tuesday, July 14, 1998

by Jeff Bradley (Denver post critic at large)

"Outstanding in the large cast (of The Crucible) were …mezzo Natalie Havemeyer’s stalwart Rebecca Nurse."

The Daily Camera - Monday, July 13, 1998

by Wes Blomster (Camera Music Critic)

"Only the Central City Opera, with the resources of its apprentices and studio artists can cast the many minor roles in the (score of The Crucible) with singers already well on their way to success. Among them Natalie Havemeyer stands out."

Westword - July 23 – 29, 1998

by Lillie

"Rounding out the stellar cast (of The Crucible) are Natalie Havemeyer’s poetic Rebecca Nurse."

Weekly Register Call - Page 4, July 17th, 1998

by Anne and Bob Hunter

"Another apprentice, Natalie Havemeyer, was well cast (in The Crucible) as Rebecca Nurse. She needed some more makeup to help her with the age of her character, but vocally and in terms of her acting, she was effective."

The Denver Post - July 15th, 1997

by Jeff Bradley

"And all eight supporting players, including Natalie Havemeyer, bring real character to their portrayals of the town’s narrow-minded, God-fearing majority (in Susannah)."

The Denver Post – June 18th, 1997

by Jeff Bradley

"And unlike past years, few of the apprentices stood out. Two that did were…and mezzo Natalie Havemeyer who sang the mother’s role in the trio from Offenbach’s ‘Tales of Hoffman.’"

New York Post - Friday, April 25, 1997

by Shirley Fleming

"Supporting roles were well filled by …Natalie Havemeyer (in Daniele Catan’s La Hija de Rappaccini)."

The New York Times - Friday, April 25, 1997

by Anthony Tommasini

"…and Natalie Havemeyer were the other able members of the cast (of Catan’s La Hija de Rappaccini)."

Stormarner Tageblatt - Monday, December 11th, 1995

by Gisela Weber-Heydemann

"In her recital, Natalie Anne Havemeyer was so fresh, natural and sensitive onstage that her obvious ease and comfort immediately worked wonders. Of many singers, none has ever sung Brahms’ Die Mainacht and Strauss’ Allerseelen as intensively as Ms. Havemeyer, with her full, warm voice. Jessye Norman herself cannot sing it more intensely."