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Time stopped as Carrie Cheron gradually crescendoed from a still-small voice within the orchestral timbres to a dark hued majesty in no, 19 “Schlafe, mein Liebster…”(Sleep, my beloved…). Consoling and soulful, she recalled de Los Angeles in her mystifying simplicity and polished tones. 


Carrie Cheron’s work in the “Agnus dei” stood out especially—her lush but simple tone evoked the urgency and plaintiveness quintessential to prayers for mercy and redemption.


The soft sonorities of Michael Leopold’s theorbo and Laura Jeppesen’s in-drawing viola da gamba sensitively supported Carrie Cheron’s profound sadness in “Es ist Vollbracht!” Her gorgeous diminuendo sealed the deal ...


“Wayfaring Stranger” proves even more haunting than usual when delivered by unaccompanied mezzo-soprano Carrie Cheron.

I don’t think I’ve ever heard Were You There? (sung by Carrie Cheron) done so well and with such unfeigned expression.

... they (Skylark) moved smoothly into a familiar arrangement of the spiritual “Were you there?”, with alto Carrie Cheron supplying the solos in the first two verses ... singing with heartfelt expression that encompassed both sorrow and consolation.

A shout out to finest among the finest, soloist(s) Carrie Cheron, in Were you there? ... she with a silvery-voiced soprano.

Of Cheron’s performance of Agnus Dei in Bach's B Minor Mass:
“... the most memorable vocal solo ...”

Vicki, portrayed by mezzo-soprano Carrie Cheron, was inquisitive and thoughtful in her search for Price’s past. Cheron’s gleaming lines complemented RaShaun Campbell’s rich baritone ...

“Schließe, mein Herze, dies selige Wunder” (Enclose, my heart, this blessed miracle), is the only newly-composed aria in the entire Christmas Oratorio. Carrie Cheron, the alto soloist, sang with pleasing tone color and emotional conviction ...

“A Charm of Lullabies” for mezzo and piano brought Carrie Cheron to the stage. With rolled Rs and genial tones, she at once she found the perfect English pastoral tone in which to elucidate Bobbie Burns’s “Highland Balou.” Her take on the strange lullabies that followed combined humor and frenetic exasperation with elegance. A couple of theatrical diminuendos ravished this listener. The “Nurse’s Song” found the mezzo trying to quiet a chromatic baby. When a triple-forte “lullaby baby” didn’t succeed in knocking out the resistant infant, she ended the song (as she had begun it) with a lovely a cappella “Lullabylabylabylaby baby.”


Cheron’s singing of “A Cradle Song” glowed with inviting warmth.

The central moment of the work is the alto aria “He was despised,” sung by Carrie Cheron with deep feeling and a sense of the human tragedy involved.

As the Doctor caring for Pedr Solis’s imprisoned son, mezzo-soprano Carrie Cheron filled a limited dramatic bill with fine vehemence.


The opera’s two female characters drove the drama as strongly as the men, in vocally and physically powerful performances by mezzo-soprano Carrie Cheron as the sympathetic Doctor ...
Cheron convincingly projected her character’s vulnerability and corruptibility ... easily handled (composer) Bloland’s energetic style of atonal declamation ...

Among the soloists, alto Cheron made the most of her appearances, singing with warm tone and an acute sense of the music's character.

Carrie Cheron’s bio says that she was raised “on a solid diet of Linda Ronstadt and the Eagles, James Taylor and Suzanne Vega,” and the influence is immediately recognizable in her classic folk pop sound. “One More Autumn” does everything necessary to fit into that traditional mold, but it does it well enough to stand on its own. This album is like an old favorite that you can always go back to when you want a comforting, familiar sound — much like Cheron’s childhood fare is for many listeners.

The instrumentation includes the expected lineup of guitar and bass interspersed with percussion, piano, fiddle, mandolin and cello. Whether lilting, frolicking, plaintive, or thoughtful, the musicianship is superb throughout. From the upbeat opening “Goodnight Amelia” to the somber “Arms of Our Brothers” to the hopeful finale “There Will Be Love,” the music has enough variation to go wherever Cheron’s songs need to go while retaining its signature sound.

Ultimately, though, the strength of "One More Autumn," as with any good folk album, is in the storytelling. Cheron exercises a comfortable control with tasteful embellishments adorning her gentle melodies ... she never loses the smooth quality that is central to her voice, Cheron is still able to convey even the most intense emotional moments. The lyrics are well-crafted and remain easily accessible without being frivolous. These are stories that everyone can understand, and Cheron’s poetry raises them to a higher artistic level while retaining their realness.

“One More Autumn” follows successfully in the folk tradition, while standing firmly on its own merits. The music is new, the voice is new, but the sound and feelings are wonderfully familiar. Cheron has created a new old favorite. (Three Mile Ceiling Music)
-Brian McGrath

CLEVELAND FREE TIMES assurance and maturity which, as showcased on her recently released debut CD, “One More Autumn,” recalls the biting, elegant clarity and luminous wisdom of the young Joan Baez.

Carrie Cheron’s new album, “One More Autumn,” has the ability to hit big in a few different genres, but I think it’s the modern country fans that will take to her the most. With a voice that rivals Carrie Underwood, Cheron may find herself leaving the folk/pop genre for Nashville … Most of the album finds Cheron’s voice and an acoustic guitar carrying the songs, but with this type of voice that’s really all you need. The lyrics tend to tell a story on each song. I was hooked by the second track “Time” and I haven’t taken this album out of my CD player since. This is a very solid album with enough pop mixed into the songwriting to hold your interest and a voice that is going to keep you listening. (JK)

Boston-based musician and singer/songwriter Carrie Cheron likens her music to some of vocal pop’s best performers. Her songs are raw both emotionally and also takes (sic) a diet from the normal production fall backs that so many pop albums are riddled with these days. Her choice of instrumentation makes the album feel incredibly at home on a porch with the folksy sounds of mandolin, fiddle, cello, and vocal harmonies. Nice.


“Music aficionados will appreciate the innate talent and musical sensitivity of Carrie Cheron when they hear her powerfully strong, yet soulful voice. Whether singing her own compositions or versions of the works of others, her depth of range and feeling is awe inspiring.”
-Helen Harrell, cohost of bloomingOUT, WFHB, Bloomington, IN

“Carrie Cheron’s subtle vocal nuances and evocative lyrical precision send shivers up the spine. Her melodies are haunting, ethereal & unforgettable. She tempers urban folk sensibility with classical magic to produce a sound that is filled with quiet, austere beauty and endless passion. She is most certainly an up and comer to be watched very, very closely as her career blossoms into its greatest potential.”
-Kellie Lin Knott, songwriter

“Carrie Cheron sings with the voice of an angel. Her prolific songwriting is honest, touching and memorable.”
-CNC Music Productions


Honorable Mention, John Lennon Songwriting Contest; “How I Loved”


Carrie Cheron Short Bio


Grammy®-nominated mezzo-soprano and contemporary vocalist Carrie Cheron has been celebrated internationally on a wide variety of stages for her “unfeigned expression” and for having “the voice of an angel.” A regular soloist with Emmanuel Music and core member of Skylark Vocal Ensemble, Carrie also performs regularly with Boston Baroque, Lorelei Ensemble, and folk/baroque collective Floyd’s Row. She is a featured soloist on all of Skylark’s Grammy-nominated recordings, and appears on numerous additional recordings, including her 2006 solo album, “One More Autumn,” featuring  her own folk music compositions.


Carrie performs regularly in both Baroque and contemporary classical worlds; her specialties include the music of Bach, Vivaldi, Telemann, Harbison, and other modern composers. Ms. Cheron is particularly proud to perform with Shelter Music Boston, which presents classical chamber music concerts of the highest artistic standards, in homeless shelters and other sheltering environments in and around the Boston area. She is an Associate Professor of Voice at Berklee College of Music. Please visit

To access a list of upcoming and archived performances, click here
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