Nicholas Simpson,

"Simpson possesses a voice that is flexible, but powerful….he literally stunned the public with his technical and expressive capability.” –Corriere di Rimini

The performers arrived, and soon the small basement was filled with the sound of the young tenor Nicholas Simpson singing the title role [Tannhäuser] — loudly and clearly, and without any traces of the so-called “Bayreuth bark” that older singers sometimes use to project over the orchestra in large opera houses. The orchestra and the chorus soon reached a Wagnerian fever pitch. –New York Times 

"As leading lovers, Nicholas Simpson as Rodolfo and Gabrielle DeMers as Mimi were truly a perfect pair. Simpson has a smooth, deeply rich tenor voice and a powerful presence as the poet Rodolfo.” –DC Theater Arts (Reviewing La bohème)

“The confrontation between Simpson and Buckwalter in Act III was exceptional and the resulting tension showed both of the actors’ dramatic abilities very well.” –DC Theater Arts (Reviewing La bohème)

"​Tenor Nicholas Simpson was a full-throated hero who carried the role from beginning to end without strain."
–Voce di Meche (Reviewing Tannhäuser)

""The opera (Die Tote Stadt) is something of a rarity, probably because of the challenges of dealing with the eerie subtleties of its plot, its demand for a Heldentenor to sing the role of Paul, and its opulent 1920s orchestration....Tenor Nicholas Simpson was splendid as Paul, negotiating a punishingly high and demanding vocal line with strength and agility.” –Cleveland Classical (Reviewing Die Tote Stadt)

​"...the rest of the large cast is men. Most notable are Nicholas Simpson as the German Kronprinz, Jesse Enderle as the British (Scottish) major and Aaron Sorensen as the French general."  Gregory Sullivan Isaacs, Theatre Jones (Reviewing Silent Night)

"Nicholas Simpson opens with the Prologue and then masterfully portrays the evil Quint." -DC Theater Arts

​"..Exceptionally talented young tenor." –Desert Theatre Entertainer

"Tenor Nicholas Simpson showed some bel canto bonafides as the real suitor, Count Alberto, who gets a lovely cavatina." Opera News Online, (reviewing Opportunity Makes the Thief)

“Also adding vocal strength to the performance was the singing of three soloists, soprano Victoria Cannizzo, tenor Nicholas Simpson, and baritone Nicolai Strommer…Although the tenor role in Carmina is limited to a single piece, Simpson made the most of his solo opportunity, which came in the song about a roasted swan, entitled "Cignus ustus cantat." Simpson vividly articulated the words of a formerly beautiful swan that is now charred black after being roasted on a spit.”
The Flint Journal (Reviewing Carmina Burana)

"The pompous King Charles II was played by tenor Nicholas Simpson who also managed some fine singing, superb acting, and clear diction, in spite of being in the upper register a great deal of the time." -Voce di Meche (Reviewing The Prince of Players)