Jennifer Brennan-Hondorp

Kishna Davis

Pamela Hinchman

Pamela Hinchman

Teresa Seidl

Shawnette Sulker

Stella Zambalis

Buffy Baggott

Julia Elise Hardin

Jennifer Lane

Carol Sparrow

Michelle Wrighte

Robert Bracey

Benjamin Brecher

James Doing

Randolph Locke

Jeffrey Springer

Mark Thomsen

Bradley Williams

Graham Fandrei

Kenneth Overton

Frederick Reeder

Charles Robert Stephens

Gerard Sundberg

James Patterson

Additional Artists



Concert Quartets

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Pamela Hinchman, soprano

As Adina in L’elisir d’amore:

Hinchman was in full control of her character. Adina is frequently presented as a thoughtless valley girl with romance as her ruling passion, but as portrayed by Hinchman, she seemed to have learned a little compassion from those books she’s constantly reading. Her rejection of Nemorino was a study in sensibility colored with kindness. Her flirtation with Belcore was imbued with the knowing wink – this Adina was not falling in love with a uniform. And her reaction to Dr. Dulcamara’s story about the depth of Nemorino’s love was emotionally affecting. Hinchman was no chirpy canary – her voice was more spinto than purely lyric. And her singing was far less ornamental than usual – but she had no difficulty in reaching her high notes or in being heard over large ensembles.”

- Nashville Press

“Soprano Pamelea Hinchman, with confident coloratura and saucy manner, reigned supreme as Adina. Through jaunty ensemble pieces, she maintained glorious vocal textures, aspiring to bravura passages in Act II before undergoing a radiant transformation both vocally and in demeanor. No matter the mood of the character, the audience absolutely adored her, and rightly so.”

- Chattanooga Times

“Playing the key role of Adina is Pamela Hinchman, a spirited and lively coloratura who gives richness and realistic depth to her character…she commands the stage.”

- The Tennessean

“Pamela Hinchman as Adina, the romantic heroine, was petite but had a big soprano voice that sometimes rang our over the whole company. She made a wonderfully flirtatious little minx, whose true virtues would eventually emerge.”

- Chattanooga Free Press

As Norina in Don Pasquale:

“…this is an opera with one feminine role. It, too, is demanding of high vocal and acting skills, and Pamela Hinchman meets the tests with high marks.:

- Louisville Music News

“Pamela Hinchman as a quintessential Norina was quite the match for Davis’ Don Pasquale, her phenomenal bravura coloratura wed to an audacious visual portrayal of a spunky young woman capable of deceiving the old man with a mischievous abandon. The soprano…delivered Norina’s famous Act I aria and the mellifluous lovers’ duet…in Act III to enchanting perfection. In addition, her Act III duet with Davis, where Norina shows pity after slapping Don Pasquale’s face, was the dramatic highlight of the opera, living up to the musical and emotional depth ascribed by the composer.”

- Chattanooga Times

“As Susanna in Le nozze di Figaro:

“Figaro couldn’t have a more irresistible Susanna. As sung and played by Pamela Hinchman. Susanna cast a glow into the theater whenever she was onstage. Hinchman’s bright, agile soprano projected beautifully, whether she was chastising her supposedly unfaithful fiancé or caressing a phrase in his praise. She was an utter delight.” -Cleveland Plain Dealer

As Adele in Die Fledermaus:

“Adele seemed second nature to Pamela Hinchman, who, with bell-clear soprano and winsome portrayal, nicely contrasted her earthy chambermaid with the majestic, feminine Rosalinde.”

Opera News

“Pamela Hinchman (Adele) is to be commended for her projection of the sung text.”


“The best singing onstage came from the charming Pamela Hinchman, who gave the maid Adele a twinkling soubrette voice. Her coy ‘Laughing Song’ in Act II was one of the highlights of the show, sweet and just a tad naughty. - New Orleans Times-Picayune

Hinchman’s bright soprano coped easily with the famous ‘Laughing Song’”. New Orleans Advocate

“Pamela Hinchamn’s Adele was as charming a canary as ever laughed her way through a ‘Laughing Aria’.. She also showed enormous poise: in Thursday’s third act she was dressed in a badly designed costume that resembled something Miss Kitty would have worn on ‘Gunsmoke’. As she bravely sang one of her most difficult songs, her skirt began to creep inexorably away from its underpinnings – she completed the aria with nary a vocal hitch.” Mobile Press Register

“Petite Pamela Hinchman’s was a delightful Adele, whose vocal agility and personal magnetism made true showstoppers of her second and third act arias.” American Record Guide

As Zerlina in Don Giovanni:

“Playing the part of Zerlina, soprano Pamela Hinchmans was a dynamo onstage. Able to lift her music while performing excessively active scenes with Masetto, Hinchman’s tiny frame was no indication of the powerhouse within.” Pittsburgh Post

“Pamela Hinchman’s Zerlina was charmingly portrayed, her arias nicely delivered.”


“Pamela Hinchman is an adorable Zerlina, easily able to wrap her perky soprano around the music and melt her fiancé…” Cleveland Plain Dealer

“…the perky sweetness of Pamela Hinchman as the peasant girl Zerlina shone in the cast….with Hinchman as Zerlina, a ray of sunlight with a hint of earthy naughtiness…” Grand Rapids Press

As Musetta in La boheme:

“Pamela Hinchman’s Musetta had enough flourish to make it comical and musical, but not burlesque.”

The Clarion Ledger (Mississippi)

As Kathie in The Student Prince:

Pamelad Hinchman…was very convincing in this role. Her light, flexible, brilliant voice and vivacious personality are absolutely ideal for operetta roles, although she has scored great successes recently in a number of major operatic roles as well. Hinchman’s high C’s in ‘Come, Boys’ are totally thrilling, and she shines in other numbers as well.” The Herald Journal

“The cast is comprised of a very attractive group of up-and-comers who have the right look for their parts and who sound good, too….The waitress, Kathie, is portrayed by Pamela Hinchman, who sustains many a high note without losing her smile, and displays charm enough to make Karl Franz’ dilemma plausible.”

- Salt Lake Tribune

Carmina Burana ( 2007)

Substituting soprano Pamela Hinchman gave her solo In truitina (In the balance) in dulcet and hushed tones.

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