-- New Haven Register (?), early 1990's
Heineman.. erased any memory of violin in this score, with dazzlingly athletic treatment of some fiendishly difficult runs, and playing of melting loveliness in the music’s more lyrical passages. -- Joe Banno, Washington Post, 1/23/12
It was Sue Heineman, principal bassoonist of the National Symphony Orchestra and new artist-in-residence at the University of Maryland School of Music, who strutted her stuff most... when Heineman plays it's a good thing indeed. -- Andrew Lindemann Malone, Washington Post, 2/15/06
All were excellent, but standouts included bassoonist Sue Heineman, harpist Adriana Horne.., oboist Nicholas Stovall, and the entire horn section. -- Robert Battey, Washington Post, 5/11/17
The potential for the bassoon .. to be an expressive communicator is tremendous, but this piece, and perhaps this soloist, relied more on the evocative power of that sound than on doing anything deeply compelling with it. -- Anne Midgette, Washington Post, 5/7/14
It would be hard to imagine a finer performance than the one it was given by Sue Heineman, the NSO's principal bassoonist. For all of the score's eerie sound effects and daunting registral leaps, Heineman's playing was inevitably lyrical: She made the bassoon sing, now with pastoral sweetness, now with dry Mephistophelian elegance, now in a boggy bass croak. -- Tim Page, Washington Post, 1/24/03