"Her subdued beginning gave little hint of the personality she would begin to reveal in the coloratura passages, which she rendered with admirable ease and purity."
The New York Times, commenting on Erin as a soloist at Lincoln Center for the Mostly Mozart Festival
"Erin Windle, a lyric soprano, sang Compassion with beauty and fluidity."
The New York Times, commenting on Erin's performance with The Manhattan Philharmonic under the direction of Peter Tiboris at Lincoln Center
"The Fairy Queen Tytania was sung with style and ease by Erin Windle;"
The New York Times, reviewing Erin's performance in A Midsummer Night's Dream,'' by Benjamin Britten
“Highlighting the performance was the scene stealing vivacity of Erin Windle’s opportunistic chambermaid, Adele. Her timing, gestures, and control of her fine soprano earned well deserved bravas.”
Opera News review of Erin as Adele in Die Fledermaus
“ … A fine soprano … superb intonation, remarkable coloratura.”
Opera News, commenting on Erin’s signature role of Olympia in Les Contes d’Hoffmann
“… Delightfully flirtatious as Musetta in the lyrically lovely Waltz song from Puccini’s La Bohème and tearfully imploring as Lauretta in 'O mio babbino caro' from Gianni Schicchi.”
Ridgefield New-Times, commenting on Erin as featured performer with the Ridgefield Symphony
“Erin Windle’s Cunegonde is the show’s most memoriable character ... because Windle is about as good as you’ll ever meet up with in this perplexing caricature of a role. Windle is young, very pretty, a talented actress and a musical whiz who understands movement, gestures and comedy. Erin Windle’s singing is extraordinary, and would be so on any stage, anywhere. She displayed the very best, technically secure, soprano voice I have heard in many and many a moon."
The Orlando Observer, reviewing Erin in Candide
“Erin Windle brightened the stage ... with her sprightly coloratura soprano voice, with her engagingly frenetic mechanical-doll movements, and, aided by delightfully comic (and slightly risqué) stage business, set this fantastic opera off and running.”
Wisconsin State Journal, reviewing Erin as Olympia in Les Contes des Hoffmann
“But it was coloratura soprano Erin Windle (Olympia) who walked away with the laurels. For one thing, the role affords plenty of opportunity for vocal display, which Windle handled with panache. Even more winning, I thought, was simply the realization of the difficult task of playing a life-sized mechanical doll. Toy characteristics heightened by costume and exaggerated make-up, Windle was flawless in the hilarious but very demanding angular movements.”
The Isthmus, reviewing Erin as Olympia in Les Contes des Hoffmann
“The extraordinarily talented Erin Windle is a nimble actress, but while performing all her actions on stage, she continued her clear soprano with exquisite intonation in a “Wow!” performance."
The Kennett Paper, reviewing Erin as Musetta in La Boheme
“Bravo to Erin Windle, whose portrayal as a soprano doll brought the house down. Her amazing range and deadpan expression melded into the perfect Olympia.”
The Daily Cardinal, reviewing Erin as Olympia in Les Contes des Hoffmann
"Emily (beautifully sung by Erin Windle) replies with an equally enchanting aria, "Farewell, my friends... "
MusicWeb International, reviewing Erin on the CD, Help, Help, The Globolinks!