"Chelsea Basler convincingly embodies the terror of a young mother whose baby is threatened by three Federal soldiers in one heart pounding scene."
-Joshua Rosenblum, Opera News
"[Chelsea Basler] act 2 debut came with quiet and intense plangency."
-Lee Wiseman, Boston Music Intelligencer
"Chelsea Basler, a compelling Boston soprano in her West Coast debut, assaying the part of Susannah expertly."
-Myron Meisel, Stageraw
"The widowed young mother Sara, was sung with a limpid soprano by Chelsea Basler in a moving performance of intensity and pathos."
-James Sohre, Music and Vision Daily
"Chelsea Basler was appropriately tender as Margaret, and her warm soprano was perfect for her initial meekness and later confidence."
-Angelo Mao, Cliff's Boston Classical Review
"Basler performed with an emotional intensity that was utterly mesmerizing; one couldn't help but be captivated by her emotional range and ardor."
- The Daily Trojan
"Chelsea Basler is strong and confident as Susannah, with a voice and range matched by a skilled acting talent."
-The Huffington Post
"Chelsea Basler, who sang Isolt the Fair, is just the type of singer to whom you want to spend an entire evening listening. She has a lovely voice and a beautiful, consistent tone across her range. And she brought an intensity to her role that was perfectly calibrated for this week’s performance space. Keep your eyes on her."
"Chelsea Basler was a luminous Isolt. Her ample soprano boasted a bright, warm tone, and was ensheathed with velvet in its upper reaches. Jon Jurgens’s Tristan, while not heroic, was ardent and sang with supple ease."
– Boston Classical Review
"Soprano Chelsea Basler particularly shone as Isolt, The Fair, and navigated her climactic sea-voyage scene with gorgeous tone and acutely sensitive acting."
– Classical Voice America
"Alas, we just don't get to hear enough from Isolt, or the luminous Chelsea Basler, who is not only an exquisite beauty but possesses a soprano of surprisingly even richness across its range."
– Hub Review
"Tenor Jon Jurgens as Tristan and soprano Chelsea Basler as Isolt the Fair stood out from the ensemble, giving performances that were lovely, passionate and clear."
– Opera News
"Ms. Basler’s voice is a mature dramatic coloratura, with an easy soaring range that is comfortable without ever straining."
– The Boston Musical Intelligencer
“Chelsea Basler’s Shakespeare-quoting Papagena is sweetly insinuating”
–Jeffrey Gantz, The Boston Globe
"Chelsea Basler was appropriately tender as Margret, and her warm soprano was perfect for her initial meekness and later confidence."
– Boston Classical Review
"Chelsea Basler’s bright soprano was a delight in the brief role of Papagena"
– Boston Classical Review
"Sarasota Opera's commissioned and freshly premiered opera Little Nemo in Slumberland has staying power. It has a timeless appeal that will ensure it has many more opportunities to delight audiences. Sunday's Little Nemo (Katherine Powell) and the Princess (K.C. Herbert) were sweetly and courageously trying to save Slumberland from the intrusion of the Emperor of Sol, whose deputy was the golden-clad and -voiced Guardian of the Dawn, studio artist Chelsea Basler."
"[Basler] sang beautifully while also creating a believable performance in every scene, both visually and emotionally...secure technique and wonderful acting..."
– Classical Voice of New England
"[Basler] prove[s] that operatic-type voices make great songs even greater."
- Kelly Ferjutz
"[Basler] gave luminous voice to every phrase she uttered. Time stopped when she and colleagues sent 'And This is My Beloved' floating from the stage."
– Donald Rosenberg
"Chelsea Basler was simply superb... Particularly noticeable was the intensity with which she approached the role."
- Opera Today
"Chelsea Basler a smoothly sweet-toned Isolt."
– Wall Street Journal
“Soprano Chelsea Basler, as Papagena…showcased her comedic talent and warm, mellifluous singing.”
– The Tech
“Sarasota Opera…has given us a cast that so embodies this work, you forget they’re singing and acting. Rather, you grow to empathize with the piteous people on stage to the point they become your relatives, your friends, your family; people you grew up with; people you know; people you’ve seen; people you hope you’re not but know, deep down, you could be…There’s only one woman in this opera, and she’s such a tart, so much the flirt, so sordidly self-centered, she doesn’t have a name. She is, simply, Curley’s Wife. Played with astounding dynamism by studio artist Chelsea Basler, her soprano cajoles, trifles, seduces and dallies with the enormous range of notes and emotions Floyd has given her, making her the villain in a dress, the demise of dreams.”
–June LeBell, Your Observer
“Floyd’s 1970 adaptation of John Steinbeck’s tragic tale…received a deeply moving and emotionally harrowing performance Sunday afternoon. Sarasota Studio Artist Chelsea Basler showed vocal gleam and impressive agility as Curley’s Wife, flinging out strong high notes with ease. The young soprano also revealed herself as a poised actress, etching a vivid and sexy portrait of Curley’s Wife, while communicating the sadness beneath the character’s slatternly exterior. For all her flirtatious confidence, her character is just as damaged and child-like as Lennie.”
–Lawrence A. Johnson, South Florida Classical Review