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"Wheeler matched their restrained introspection with a velvety richness of tone, especially in her lower register. It was all the more remarkable for conductor and soloist to achieve this balance, as Wheeler had replaced a stricken Elizabeth Campbell at extremely short notice."
(Mahler Rckert -Lieder)
Meg Matthews, The Northern Herald
"Kimball Wheeler (mezzo-soprano) as the Angel was rich, mellow, yet fully clear in the upper reaches of the part. The three singers themselves took the performance to dizzying heights; more well-suited and sympathetic artists could not have been found."
(Elgar Dream of Gerontius)
Robert Judd, The Australian
"Wheeler's rich mezzo was one of the evening's unanticipated delights. It has the vibrant color and silky texture found in the best of the English school of such voices. Coupled with an even articulation, her contribution to the work was exemplary."
(Elgar Dream of Gerontius)
Clive O'Connell, The Age
"Central to this memorable performance was the magnificent singing of Kimball Wheeler. Here, surely, is the ideal voice for Mahler, rich and strong over the entire range, with superb dynamic control and a tone quality that seems to have been made for the music--particularly in the lower register, where Weltschmerz seemed to ooze out of every note."
(Mahler Kindertotenlieder)
Stephen Wittington, Adelaide "Advertiser"
"As Marguerite, mezzo-soprano Kimball Wheeler sang with power and conviction."
(Berlioz La Damnation de Faust)
The Advertiser
