Turandot Review: Calgary Opera´s Turandot a feast for the ear and eye
(Liù) - Calgary Opera
“ ... the opera contains exceptionally beautiful music for the slave girl Liù, eloquently sung and acted by Mariateresa Magisano. Magisano’s voice has a distinct and attractive timbre, and as is often the case, she snagged her full share of the audience’s applause. ”Kenneth Delong - Calgary Herald - Calgary (2017)
Le Nozze di Figaro Review: Nickel City Opera´s The Marriage of Figaro´ is a magical mix
(Contessa) - Nickel City Opera
“ ...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 (2015)
La Bohème Review: Nickel City Opera does justice to “ La Bohème ”
(Mimi) - Nickel City Opera
“ ...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 (2012)
Opera Piccola Review: la renaissance du théâtre lyrique et musical à Montréal
“ ...J’ai particulièrement apprécié celle de la soprano Mariateresa Magisano. Son interprétation de l’air Belle nuit, ô nuit d’amour tiré de l’opéra Les Contes d’Hoffman de Jacques Offenbach a révélé une belle maîtrise du geste vocal et une diction française impeccable. Cette maîtrise est confirmée dans l’air On my lips Every Kiss is like wine de l’opérette Giudetta de Franz Lehár. ”Daniel Turp - Le blogue lyrique de Daniel Turp - 27 août 2011
Opera Piccola Review: New company brings rare talent to Montreal
“ The discoveries of the evening were the clarion soprano of Mariateresa Magisano... Magisano's soprano has rarely been heard in Montreal. The first-half duets showed off her even legato and secure top starting with the Barcarole from Offenbach's Les Contes d'Hoffmann, the Flower duet from Madama Butterfly and the Act III duet from La Bohème . ”Wan Keung Chan - The Montreal Gazette - Montreal, QC (2011)
Opera Piccola Review: Opera Piccola is tiny and fine
“ Montreal soprano Mariateresa Magisano, who was Micaëla in June`s Carmen at the Barre Opera House, sounded gorgeous, with a rich but lyrical delivery, in Donde lieta from Puccini`s La Bohème . ”Jim Lowe - The Times Argus, Vermont, USA (2011)
Carmen
(Micaëla) - Green Mountain Opera Festival
“ Mariateresa Magisano sang the role of Micaëla, with a soprano voice that she made plangent and touching. ”Dan Wolfe - Classical Voice of New England, Inc. (2011)
Green Mountain Opera Festival - opening concert review: Promise of a spectacular Carmen
“ In the familiar ” Ebben ne andrò lontana from Catalani’s “ La Wally, ” Magisano revealed a warm and lustrous soprano and beautiful expressiveness, echoed in a duet from Puccini’s “ Madama Butterfly. ” She should be a gorgeous Micaëla in “ Carmen. ”Jim Lowe - The Times Argus - Vermont, USA (2011)
Carmen
(Micaëla) - Vancouver Opera
“ Micaëla, whose character Bizet juxtaposes with that of Carmen is portrayed with guile and sensitivity by (beautifully named) Montreal soprano Mariateresa Magisano. Ms Magisano demonstrates her character’s fragile vulnerability in 'Je dis que rien ne m’epouvante,' her emotionally absorbing third act solo aria. Frightened and alone inside the smuggler’s camp, she prays for courage. ”John Jane - reviewVancouver.org - Vancouver, BC (2009)
Vancouver Opera delivers ravishing Carmen
(Micaëla) - Vancouver Opera
“ As José’s admirable admirer, Micaëla, soprano Mariateresa Magisano is heartrending, especially in the campfire scene. ”Louise Phillips - Vancouver Courier - Vancouver, BC(2009)
Le Nozze di Figaro
(Susanna) - 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 ( 2008)
Gets intimate with pared-down Mignon
(Mignon) Opera in Concert at Opera Lyra Ottawa
“ Mariateresa Magisano sang the title role with aplomb and sensitivity. Her rendition of one of the opera's "hits," Connais-tu le pays? was utterly lovely, but some of her other work was even more captivating. ”Richard Todd -The Ottawa Citizen -Ottawa, ON (2007)
Il Barbiere di Siviglia
(Rosina) - Opera Lyra Ottawa
“ It is an elegant performance that promises much on stage. Especially when paired with Magisano's sprightly and impish Rosina. Her bubbly energy seems barely contained on stage, creating a very appealing character. Her voice matches this persona perfectly - a clear, bright and impressively precise soprano that moves from note to note with the lightness of a bird in flight. ”R. Mesiano-Crookston, The Ottawa Express-Ottawa, ON ( 2006)
Il Barbiere di Siviglia
(Rosina) - Opera Lyra Ottawa
“ Mariateresa Magisano’s Rosina: stubborn and feisty, yet vulnerable and more than susceptible to tender sentiments, she was the most sympathetic character in an opera that only flirts with our sympathies. ”Richard Todd, The Ottawa Citizen - Ottawa, ON (2006)
Il Barbiere di Siviglia
(Rosina) - Green Mountain Opera Festival
“ Soprano Mariateresa Magisano delivered Rosina with a rich but precise sound and passion, as well being wickedly funny. ”Jim Loewe, The Times Argus — Barre, Vermont (2006)
Così fan Tutte
(Despina) - Arizona Opera
“ As Despina, Mariateresa Magisano was an excellent comedienne and had accurate, razor sharp coloratura. ”M. Nockin, Opera-International News - Phoenix, AZ (2005)
Il Barbiere di Siviglia
(Rosina) - The Buffalo Philharmonic Orchestra
“ Magisano is outstanding; her fluid soprano sounds effortless and clear, tumbling over the tough score with the ease of a mountain stream. She began the showpiece aria 'Una voce poco fa' leaning back in her chair, looking - and sounding - completely relaxed. She brings a youthful approach to the role. ”Unz Goldman, The Buffalo News - Buffalo, NY (2005)
La Bohème
(Mimi) - Okanagan Vocal Arts Festival
“ Magisano’s substantial voice was at its most sublime in the tender Act three aria to Rodolfo. ”Dave Nordstrom, The Morning Star - Vernon, BC (2005)
Don Giovanni
(Zerlina) Opera Columbus
“ Mariateresa Magisano captures the flirtatious Zerlina perfectly via sweetly beautiful singing and characterization. ”Barbara Zuck, The Columbus Dispatch - Columbus, OH (2004)
Cinderella
(Angelina) - 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 ( 2004)
Cinderella
(Angelina) - Des Moines Metro Opera
“ 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 (2004)
Cinderella
(Angelina) - 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 (2004)
Hansel and Gretel
(Gretel) - 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 - (2003)
Il Barbiere di Siviglia
(Rosina) - Opera Saskatchewan
“ Mariateresa Magisano (Rosina) capably switched from love-struck young girl to pouty ward. Apart from her delightful vocal accomplishments, she is a good character actor and brought a lot to the performance. ”Richard Ewen, Opera Canada - Regina, SK (2003)
Le Nozze di Figaro
(Susanna) - 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 (2001)
Le Nozze di Figaro
(Susanna) - Vancouver Opera
“ 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 ( 2001)
Don Giovanni
(Zerlina) - 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 ( 2000)
Così fan Tutte
(Dorabella) - Teatro Comunale di Treviso
“ 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, Trevis, Italia - (1998)
Scipione
(Armira) - 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 (1998)
Recital and Concert performances
Opera a hit at th Opera House
Celebration Series, Green Mountain Opera Festival
“ Soprano Mariateresa Magisano, familiar to Opera House audiences for her starring role in GMOF’s 2006 “ The Barber of Seville,” took on a much more serious note in Catalani’s “ Ebben? Ne andr\F2 lontana, ” currently known as the theme of the feature film “ Diva.” Magisano’s soprano is brilliant yet warm with a velvety luster, and she delivered this lyrical aria with subtle passion and beauty. Much the same can be said for her powerfully restrained “ Un bel di ” from Puccini’s “ Madame Butterfly. ”Jim Lowe - Times Argus - Barre, Vermont (2009)
Rossini - Petite Messe Solonnelle
(Soprano soloist)
“ Mad River Chorale conquers virtuoso mass Mad River Chorale Mariateresa Magisano, Rosina in the company’s production of “ The Barber of Seville ” last summer, used her rich and agile soprano fluidly, particularly in the Crucifixus and the coloratura O solutaris. ”Jim Lowe - Times Argus - Barre, Vermont ( 2007)
An all Mozart Concert
The André Turp Society
“ Soprano Mariateresa Magisano proved ideally suited to the fiery temperament of Donna Anna in ‘ Or sai chi l’onore’ from Don Giovanni. She brought equal measures of brilliance and lyricism to ‘ Un moto di gioia’, a song also with lyrics by Da Ponte. Her hand gestures and other expressive movements were consistently natural and fitting. Full marks. ”Arthur Kaptanis, The Montréal Gazette \96 Montreal, QC ( 2006)
Aria Extravagana
Okanagan Vocal Arts Festival
“ When Magisano’s rendition of Senza Mamma forces me to forget everything around me, including the tears rolling down my cheeks, language was irrelevant. For the duration of the song, I pushed aside my sing-song aspirations and performed vicariously through the Montreal soprano, imagining it was me who was affecting the audience and making them cry as I was. ”Megan Stewart, The Morning Star -Vernon, BC (2005)
Magisano: A big, rich, and lustrous voice
Vancouver Recital Society
“ She has a big, lustrous voice with a rich tone spread evenly, without breaks, across her range from the top to her deep mezzo chest tones, and she has a lot of style to go with it. Magisano still young was popular with the audience in a program not chosen to be easy. In the three songs, of Sheherazade, the vocal line calls for languor and the utmost in sensuous tone, and Magisano was sensitive to it's need over-all, scaling climaxes and releasing tensions carefully. Magisano hit her stride quickly, dispatching Rossini’s Joan of Arc Cantata with drama and fiery, precise coloratura, and her Mignon Songs by Hugo Wolf were transfixing: tense, private, weighted with pauses the voice sometimes drained with color to match the desolation of the words, and before the two encores there were five songs, variously swaggering, sultry and delicate, from the Spaniard Fernando Obradors. By this point, there was no doubt that Magisano had the crowd in her hands. ”Lloyd Dykk, The Vancouver Sun - Vancouver, BC ( 2000)
Metropolitan Opera National Council - Winners Concert
“ Mariateresa Magisano brought radiant tone and supple line to an excerpt from Strauss’s Ariadne auf Naxos. ”Anthony Tommasini, The New York Times, New York, NY (1998)
Audience Spellbound
Debut Concert Series
“ To hear Magisano in Ravel’s Sheherazade songs and the five songs of Montsalvatge’s black songs was an enchanting experience. Magisano sang these with remarkable fluidity and a natural ease in most expressive ways. She had that something that put the audience under her spell. Her voice is highly flexible, sounds good at the medium and low dynamics and the singer uses it with great refinement, discretion and charm. By clear diction, subtle inflections and a knack for parlando touches she created an intimate atmosphere and thus made the most of the small auditorium. ”Isla Zadrosky, The Gazette - Montreal, QC (1998)