"...Mozart wrote the soprano part of Fiordiligi as the most prominent and virtuosic. He gave her two of his greatest bravura arias. Hailey Clark, making her CCO debut, immediately drew in the crowd with her striking stage presence and her astonishing vocal control. Clark's performance is a masterclass in how to fully inhabit and develop a character — all while dazzling with an ineffably beautiful voice. Both arias drew sustained applause."

--Kelly dean hansen, THE DENVer post july 20, 2017 &  Boulder daily camera, july 2017

"Soprano Hailey Clark is a revelation in her part as Fiordiligi, the sister that tries valiantly to fight the temptation of the disguised men. There are moments that Clark’s voice is a whisper that fills the opera house with its power. In the opportunities Clark gets to take over the stage, like in the aria “Per pietà,” the audience is treated to not only a voice worthy of admiration, but also the beauty inherent in the music of Mozart.

--Ramsey scott, aurora sentinel, july 27, 2017

"As Fiordiligi, CCO debutante Hailey Clark earned the audience’s affection. She handled the extreme registers and daunting leaps of the soprano-slaying aria “Come scoglio” with aplomb...and was perfectly heart-rending in her later aria, “Per pietà.”

--Peter alexander, boulder weekly, july 20, 2017

hailey WINS THE Austrian Music Theater award, JUNE 2017

Hailey wins the Österreichischer Musiktheaterpreis in the category of "Best Female Leading Role" for her 2016 portrayal of Alma Beers in Brokeback Mountain by Charles Wuorinen, presented by the Salzburger Landestheater. Read more about the nominees and awards ceremony here.

​​​As Fiordiligi (company debut) in Così fan Tutte, Oper Stuttgart, 2017


"Bei dieser Opera buffa triumphieren Hailey Clark als höhensichere Fiordiligi..."

In this opera buffa, triumphs Hailey Clark as a high-caliber Fiordiligi...

"Da brillieren insbesondere die beiden glanzvollen Sopranistinnen Hailey Clark und Diana Haller.  Hailey Clark stellt die völlige Konsterniertheit Fiordiligis über den unerwarteten Anblick heraus („Cosa veggio!“)."

The two glamorous soprano singers Hailey Clark and Diana Haller are particularly outstanding. Hailey Clark reveals the complete consternation of Fiordiligi over the unexpected sight ("Cosa veggio!"). 

"Hailey Clark vollbringt als Fiordiligi bei den Passagen „Sii costante a me sol“ („Sei mir allein treu“) ein melodisches Wunder."

Hailey Clark as Fiordiligi brings to the passage "Be faithful to me alone" a melodic miracle.

--Alexander Walther, Der Neue Merker, 13 April, 2017 

"...En esta representación...funcionaron mejor las escenas colectivas que en las individuales, con la salvedad de la soprano protagonista. Ésta fue Hailey Clark, que recreó una Fiordiligi muy solvente en lo vocal, capaz de sortear los escollos - nunca mejor dicho - de “Come scoglio” con una fluidez pasmosa a lo largo de toda la exigente tesitura...La soprano americana remató, apoyándose en la belleza de su timbre, una caracterización llena de encanto y sensualidad."
In this production, the collective scenes worked better than in the individual ones, with the exception of the protagonist soprano. This was Hailey Clark, who recreated a very vocally solid Fiordiligi, able to navigate the difficulties [of the role] - never better said - of "Come scoglio" with an astounding fluidity throughout all the demanding tessitura...To top it off, the American soprano created, through the beauty of its timbre, a characterization full of charm and sensuality.

--José Amador Morales, CodaLario Classical Music Magazine , 25 April, 2017

​As Musetta (role debut) in a new production of La Bohème, Salzburger Landestheater- Haus für Mozart, Salzburg, 2017

conductor: Mirga Gražinytė-Tyla, Director: andreas gergen

"Musetta (Hailey Clark) satten Koloraturen."
Musetta (Hailey Clark) [played] charmingly...with rich coloratura.

--Hans Gärtner, Tabula Rasa Magazin, 14 March 2017

"Für den Betriebsausflug in der eigenen Stadt spendiert das Haus hervorragende Kräfte...Hailey Clark ist keine spitze, kalte Musetta, sondern könnte fast eine Rivalin Mimìs sein.  Gerne hätte man in der Aufführung mehr gewusst von diesen jungen Menschen..."

For the company outing in its own city donated the house excellent forces ... Hailey Clark is not a pointed, cold Musetta, but could be almost a rival Mimì's. It would have been nice to have known more about these young people [Musetta and Marcello]...

--Markus Thiel, Münchner Merkur, March 2017

"Das Ensemble ist von hoher Qualität...Glasklar auch die kokette Musetta der Hailey Clark."

The ensemble is of high quality...crystal-clear the coquettish Musetta of Hailey Clark.

--Helmut Christian Mayer, Kurier, 3 March, 2017

"Mit den Solisten hatte das Salzburger Landestheater diesmal viel Glück...Hailey Clark als lebenslustige Musetta...Ein verdienter Erfolg für das Landestheater."

"With the soloists, the Salzburg State Theater had a lot of luck this time ...Hailey Clark as a fun-loving Musetta...a deserved success for the Landestheater."  

--Peter Jungblut, BR-Klassik, 27 February 2017

"Die Sänger-Gästeschar wirkt handverlesen...David Pershall ist ein sehr differenzierter, in der Höhe weicher Marcello, der gegenüber der gelöst-freien Musetta (Hailey Clark) doppelt verletzlich wirkt. Die Regie arbeitet dieses Paar sehr aufmerksam als quasi-realistisches Gegenmodell zur Traumtänzer-Liebe zwischen Mimi und Rodolfo heraus."

The singers' guests are hand-picked...David Pershall is a very differentiated, high-pitched Marcello, who is doubly vulnerable to the loosely-free Musetta (Hailey Clark) The couple is very attentive as a quasi-realistic counter-model for dream dancer love between Mimi and Rodolfo. 

--Reinhard Kreichbaum, Dreh Punkt Kultur, 27 February 2017

"...Musetta was sung by Hailey Clark who impersonated the role wonderfully. Her voice combines...great agility and clarity of singing...really captivating..."

--Daniel Url, The Operatic Musicologist, 2 March, 2017

As Micaela in Carmen, Florida Grand Opera, 2016


"The longest applause and most numerous bravas were heaped opening night on soprano Hailey Clark as Micaela, the “good girl” from Don Jose’s hometown. Her lengthy prayerful fretting is expertly carried off from a technical standpoint. But more affectingly, her voice wafts like wind through tree branches believably embodying a purity that ought to seem ludicrous in 2016."

--Bill Hirschman, Florida Theater On Stage & November 2016

"Soprano Hailey Clark as Micaela struck a contrast to Venditti's bold Carmen. She captivated the audience in the beautiful aria “Je dis que rien ne m’épouvante,” effortlessly soaring in the aria’s highest ranges for an absolutely gorgeous interpretation."

--Michelle F. Solomon, Miamiartzine November 2016

"Without question the vocal highlight was Hailey Clark whose Micaëla shows that this girl really is almost as tough (though not rough) as her rival, her kindness never sweet. This woman has an unwavering moral compass."

--Jeff Haller, ConcertoNet, November 2016

"Asimismo, la joven Hailey Clark compuso una Micaela creíble y vocalmente destacable con un Je dis que ne rien m’epouvante de excelente factura."

Also, the young Hailey Clark made a believable and vocally outstanding "Je dis que ne rien m'epouvante" of excellent voice.

--Sebastian Spreng, Miami Clasica, November 2016

As Freia (role debut) in the Southeastern USA premiere of Das Rheingold, North Carolina Opera, 2016

CONDUCTOR: Timothy myers, DIRECTOR: James marvel 

"Freia, the keeper of the golden apples and the source of eternal youth for the gods, was played bewitchingly by Hailey Clark. The music associated with her is some of the most beguiling and beautiful in the Ring." 

--Ken Hoover, Classical Voice of North Carolina, September 2016

As Alma Beers (role debut/house debut) in a new production of Brokeback Mountain, Salzburger Landestheater, 2016

Conductor: Adrian Kelly, director: jacopo spirei (new production)

​"Von den vielen kleineren und sehr kleinen Rollen stechen noch Hailey Clark als fabelhafte Alma, Ennis frustierte Frau."

From the many smaller roles stands out Hailey Clark as a fabulous Alma, Ennis' frustrated wife.

--Helmut Christian Mayer,, February 2016

"Sängerisch ist hier wahrlich ein All-Star-Cast versammelt...aus der Vielzahl von Mittel- oder Nebenfiguren ragen James Moellenhoff (Hogboy), Anna Maria Dur (Mrs. Twist) und Hailey Clark (Alma Beers) heraus."

Vocally, an All-Star-Cast here is truly gathered...also secondary characters like James Moellenhof, Anna Maria Dur and Hailey Clark stand out.

--Jörn Florian Fuchs, BR Klassik, February 2016

"Hailey Clark und Rowan Hellier sind die beiden Ehefrauen, starke Charaktere."

Hailey Clark and Rowan Hellier are the two wives, strong characters.

--Reinhard Kriechbaum, Wiener Zeitung, March 2016

As Norina (role debut) in Don Pasquale, Opera Naples, Naples FL 2016

conductor: ramon tebar, director: jeffrey buchmann

"Clark somersaulted through her tough runs with bell clarity and purity — she is an impressive young soprano whose name will likely show up in larger venues soon...a strong, sweet bel canto soprano."

--Harriet Howard Heithaus, Naples Daily News, January 2016

As Fiordiligi (role debut) in Così fan Tutte, Florida Grand Opera, 2015

conductor: ramon tebar, director: bernard uzan

"Clark imbued Fiordiligi with real emotions rather than the caricature of a prima donna. Most importantly she can rise to the role’s vocal challenges. She brought energy, fervor and dramatic passion to Fiordiligi’s “Come scoglio” and “Per pietà, ben mio.” Her strong low tones, fine projection and ease in coloratura passages propelled the ensembles as well as solo showpieces. Clark is a very promising soprano."

--Lawrence Budmen, South Florida Classical Review (Miami, FL, 2015)

“Clark knocked it out of the park with a flawless commanding “Come scoglio” followed by a truly inspiring “Per pietà.” The tough coloratura seemed to encourage, not intimidate her. With this performance, she demonstrates the commitment needed to tackle the big stuff.”

--Jeff Haller for (Miami, FL, 2015)

"Clark's voice is an impressive instrument...Fiordiligi's first aria, 'Come scoglio,' is one of the most difficult arias in the soprano repertory with a range from A3 to C6...Clark has a nice even voice with a beautiful top and a reasonably substantial bottom that allowed her to be heard even in the lowest sections of the aria. It was a superstar performance."  

--Jack Gardner for Edge Media Network (Miami, FL, 2015)

As Donna Elvira (role debut) in Don Giovanni, North Carolina Opera, 2015

conductor: timothy myers, director: crystal manich

"As Donna Elvira, abandoned by Don Giovanni, Hailey Clark’s bright, silvery soprano expresses hurt, jealousy and vexation equally well." 

--Roy C. Dicks, The News and Observer (Raleigh, NC, 2015)

"​Ms. Clark used the roulades and climactic top As in 'Ah! fuggi il traditor!' as springboards for launching Elvira’s emotions into the laps of listeners, and the security of her singing of 'Non ti fidar, o misera' provided the energy that made the quartet a highlight of the performance.​..Clark sang stunningly, the voice soaring above the turbulent orchestrations...A charge of dramatic electricity coursed through the auditorium whenever Ms. Clark was on stage, but the true glory of her Elvira was musical. She had every note of the part in her voice and knew how to place and project every tone with ideal impact. Hers was an Elvira to be loved, not pitied: whatever trouble partnering such a firebrand might cost him, Giovanni seemed a fool for having discarded such a woman as Ms. Clark portrayed.  

--Joseph Newsome for "Voix des Arts" (Raleigh, NC, 2015)

"All the coloratura was vividly in place as soprano Hailey Clark railed against her seducer Don Giovanni. She was believable in rage and as the all-too-susceptible woman."

--William Thomas Walker for "CVNC" (Raleigh, NC, 2015)

As Leila (role debut) in The Pearl Fishers, Fort Worth Opera, 2014

conductor: joe illick, director: john de los santos

"Soprano Hailey Clark, as Leïla, possesses a fluid, flexible voice; suitable for a role that looks fondly back at the florid bel canto era of the early 19th century." 

--Wayne Lee Gay,  D Magazine (Dallas/Fort Worth, TX, 2014)

"In lovely feminine contrast was the bejeweled priestess Leïla, sung by soprano Hailey Clark. Clark’s voice, while not as booming as her male counterparts, is focused and delightfully flexible. She closed Act I with a magnificent cadenza at the end of “O Dieu Brahma.”​ 

--Laurie L. Lindemeier, The Column (Dallas, TX, 2014)

Other Acclaim

"Hailey Clark, raised in Cary, possesses an enchanting, precise soprano voice, capable of communicating great nuance. She returned to North Carolina Opera, having made her debut in the Fall 2013 performance of Così fan tutte, and dazzled the audience again."

--Harrison Russin for 'Classical Voice of North Carolina' on "Opera in the Pines" with North Carolina Opera (Raleigh NC, May 2014)

"Special kudos go to Hailey Clark who was an attractive and compelling Despina with great stage presence and good acting...A good Despina is frequently the make-it-or-break-it element in this piece. After all, she is the most comic role, not only in her regular parts, but also in disguise as the Doctor and the Notary. Ms. Clark pretty much stole the scene in this production and was responsible for a good chunk of its success."

--Luiz Gazzola for Opera Lively (North Carolina Opera, Raleigh, NC, 2013)

Hailey Clark

"Clark knocked it out of the park

with a flawless commanding “Come scoglio” followed by a

truly inspiring “Per pietà.” 

-Concerto Net

Photos by Eric Melear

"A charge of dramatic electricity

coursed through the auditorium

whenever Ms. Clark

was on stage..."

-Voix des Arts