"Both in the Prologue and in her appearances elsewhere in the opera, soprano Melissa Harvey sang the music for Amore with wonderful brio, the exuberance of her personification of the goddess’s confidence making the triumph of her agenda seem inevitable. Though the prowess with which she distinguished one character from the other was particularly commendable, the playfulness with which she brought Amore to life also animated her portrayal of Drusilla. In this production, Drusilla was an oasis of earnestness in an expanse of duplicity, her affection for Ottone charmingly flirtatious and ultimately fatefully profound. Declaring Drusilla’s love for Ottone, Harvey used the music as a blueprint for constructing a multi-dimensional characterization of the optimistic, fiercely determined young woman. Joyously surrendering her cloak to disguise Ottone for his attempt on Poppea’s life, her devotion to claiming a new life with the man she loved was sweetly touching. Harvey’s singing was unfailingly lovely and stylistically right, but the scene in which she falsely confessed to attacking Poppea in order to save Ottone’s life impelled operatic emoting of the highest order. Immense but deeply personal tenderness flooded Harvey’s voicing of ‘Adorato mio bene, amami anche sepolta,’ but, as ever, the integrity of the musical line was maintained. Consequentially, Nerone’s sole act of mercy in the opera is inspired by Drusilla, and it was impossible to imagine even the most stony-hearted emperor condemning Harvey’s endearing, sparklingly-sung Drusilla."

"...entangled with Melissa Harvey’s beautifully sung Drusilla/Amore."

"...Melissa Harvey responds sensitively to the demand of multiple roles."

"The fine cast included...Melissa Harvey, whose high, piercing soprano made her believable as the 10-year-old Schatzi."

"Like his fellow cast members, Cohen projected Monteverdi's long lines sensitively, and the scene in which he and Drusilla try to protect each other from Nerone's wrath was moving. As Drusilla, Melissa Harvey was appropriately bubbly most of the time, singing her music fleetly. Well known in the local early-music scene, Harvey has sung small roles in contemporary music with the company."

"It was Melissa Harvey who captured hearts as Drusilla, Ottavia's lady-in-waiting. Petite and cute to the extreme, she was in love with Ottone and lovingly abetted his maelstrom of guilty actions. Her appearance at the curtain call created the onset of a continuous standing ovation."

"Soprano Melissa Harvey was a sweet-voiced Drusilla, the serving maid who falls in love with Ottone."

"The rest of the cast is top-notch. [...] and the lovely Melissa Harvey and countertenor Aryeh Nussbaum Cohen brought vocal and physical chemistry to their assignment as the story’s ‘other’ couple, Drusilla and Ottone."

"Melissa Harvey was a charming, youthful Drusilla, who skipped and twirled to express her love for Ottone, and her sparkling voice matched her exuberance."

"He and his wannabe girlfriend, Drusilla, given buoyancy and self-sacrificing ardor by Melissa Harvey, are imperially rewarded by a not unwelcome exile together."

“Melissa Harvey and Molly Quinn took well to the stage in both Le Reniement de St. Pierre and La feste de Ruel, comfortably executing all the embellishments needed to make this music flow and providing it with very beautiful singing.”

“…and another local singer, Melissa Harvey, stopped hearts with some laments that never seemed to go on long enough.”

“Harvey and Kang’s love scene was beautifully sung.”

“The CCO winds set the tone for the “Et incarnates est” with soprano Harvey, engaging in lovely interaction throughout, including the engaging cadenza at the end.”

“Two well-matched trios – Jacqueline Echols, Audrey Walstrom and Davia Bandy as the Queen’s Three Ladies, and Melissa Harvey, Alisa Jordheim and Hilary Ginther as the Three Spirits – rounded out the able supporting cast with excellent sounding chorus, prepared by their long-time chorus master, Henri Venanzi.”