Performance Portfolio

Nickel City Opera does justice to “La Bohème”

“…Mariateresa Magisano is a fine Mimi, affecting without being maudlin. She is a winner of the Metropolitan Opera National Council auditions, and her voice had an affecting purity and innocence. And strength: You almost had to smile later in the opera when she was supposed to be dying of tuberculosis, and out come these uncompromising high notes. I don’t know how a singer finds a way around that. ”  Mary Kunz Goldman – The Buffalo News – New York

Okanagan Vocal Arts

“Magisano’s substantial voice was at its most sublime in the tender Act four aria to Rodolfo.” Dave Nordstrom, The Morning Star – Vernon, BC

Des Moines Metro Opera 

“ As Cinderella, Canadian Mariateresa Magisano revealed a soft-edged and lyric voice, even and resonant throughout its large range. With phrasing and manner more dreamy than insistent, her transformation from sweet scullery maid to gracious princess seemed totally natural. ”  Judith Malafronte, Opera News – Des Moines, IA

“ Young Canadian Mariateresa Magisano is magnificent as Cinderella. She possesses an agile voice able to negotiate the roulades of this florid singing style with impeccable ease and grace, while producing a warm, luxurious tonal quality. She is beautiful and petite; a superb, vivacious actress who makes for a demure, radiant princess-to-be. ” Robert c. Fuller, The Des Moines register – Des Moines, IA

Opera Saskatchewan 

“ Last year, Mariateresa Magisano turned in a memorable performance as Rosina in Il Barbiere di Siviglia, so expectations were high for her performance in the title role. She did not disappoint, bringing the opera to a vocally exciting conclusion with ‘ Non piu mesta ’ . ”  Richard Ewen, Opera Canada – Regina, SK

Opera Lyra Ottawa 

“Mariateresa Magisano was an ideal Susanna, beautiful of voice, spunky and sexy within the limits of propriety. She brought a delightful animation to every scene she was in.” Richard Todd – The Ottawa Citizen – Ottawa, ON

Vancouver Opera 

“The role of Susanna was done quite well by Mariateresa Magisano. Her lovely voice and lively facial expressions kept the audience wanting to hear her sing more. Eluding the groping count and trying to aid her Countess, Magisano put on a sly performance that amused the audience and would make her native Quebec proud.”  YuWei Gao, Simon Fraser Newspaper, Vancouver BC

“As Susanna, Figaro’s intended and prey of the Count, Mariateresa Magisano sang affectingly and purely, especially in her last aria, in the garden, where she floated a charmingly effortless, private, sound on the evening air. ”  Lloyd Dykk, The Vancouver Sun – Vancouver BC

Nickel City Opera’s The Marriage of Figaro is a magical mix

“…Maria Teresa Magisano had presence as the Countess Almaviva, and her arias, some of the most sublime music Mozart ever wrote, were highlights. Magisano was Mimi in Nickel City Opera’s “La Boheme” three years ago, and in “Figaro,” she projected a similar air of innocence and vulnerability.” Mary Kunz Goldman – The Buffalo News – New York

Arizona Opera

“As Despina, Mariateresa Magisano was an excellent comedienne and had accurate, razor sharp coloratura.” M. Nockin, Opera-International News – Phoenix, AZ

Teatro Comunale di Treviso  (IT)

“Magisano Magisuper!, Mariateresa Magisano è un intensa Dorabella, perfetta in stile e vocalità, distinta nel porgere gli affanni, i sospiretti e i repential cambi di sentimenti.”  Irene Lissandrin, Gl’Amici della Musica, Treviso, Italia

Vancouver Opera

“Mariateresa Magisano, as Zerlina, had only to sing the gentle aria ‘Batti, Batti, o bel Masetto’ to demonstrate that she has the Mozartian goods.”  Douglas Hughes, The Georgia Straight, Vancouver, BC

Opera Columbus 

“Mariateresa Magisano captures the flirtatious Zerlina perfectly via sweetly beautiful singing and characterization.”  Barbara Zuck, The Columbus Dispatch – Columbus, OH

Calgary Opera

“The production was particularly fortunate in its principals. Mariateresa Magisano (Gretel) has a clear-toned soprano that was girlish, but nonetheless carried easily to the back of the hall. Magisano was also effective dramatically, her actions admirably suited to the story and never fading into cloying kitsch.”  Kenneth DeLong, Opera Canada – Calgary, AB

Modern Baroque Opera Company 

“Mariateresa Magisano’s voice is as rich and as clear as red wine in cut crystal, and she’s got a sense of humour. The Act I scene in which Magisano’s Armira tries to seduce Lelio into untying her shackles is one of the few passages in this production that contain both wit and genuine interaction. Magisano’s the best actor on stage because she is the most actively present; her character is always eager to see if she can make an impact on what happens next.” Colin Thomas, The Georgia Straight, Vancouver, BC