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Une Adriana Lecouvreur triomphale à l'Opéra de Monte-Carlo By Emmanuel Andrieu, Opera Online - November 26, 2017 "...Marianne Cornetti – qui nous avait électrisés dans son incarnation de Fidès (Le Prophète) à l’Opéra d’Essen en avril dernier – soulève à nouveau notre enthousiasme dans celle de la terrifiante Princesse de Bouillon, à qui elle confère une présence inquiétante : plus féline et méchante que lorsque le rôle est confié à des chanteuses ayant dépassé leur zénith vocal, cette rivale s’impose comme un rôle de premier plan, en rééquilibrant les axes dramatiques du livret. / "...Marianne Cornetti - who had electrified us in the emboidiment of Fidès (in "Le Prophète") at the Opera of Essen last April - lifts again our enthusiasm in that of the terrifying Princess of Bouillon, to whom she confers a disturbing presence: more feline and nasty than when the role is confided to singers beyond their prime, this rival stands out as a leading role, by rebalancing the dramatic axes of the libretto." Read the full review...
By Caroline Boudet-Lefort, Art Cote de Azur - November 19, 2017 "...mezzo-soprano Marianne Cornetti superbly interprets her role. The whole cast is first class." Read the full review...
By Hugo Shirley, Gramophone - October 6, 2017 "Marianne Cornetti gives us an imposing, powerfully sung Eboli." Read the full review...
By Anton di Santiago, La Voz de Galicia - September 3, 2017 "Marianne Cornetti, maga Ulrica, cuya hermosa voz de mezzo verdiana y su categoría interpretativa le permitieron crear un personaje convincente." / Marianne Cornettie, magician Ulrica, whose beautiful mezzo-soprano voice and interpretive acting allowed her to create a convincing character." Read the full review...
By Peter vander Lint, Trouw - July 30, 2017 "But the main reason to go to Barcelona was to see Marianne Cornetti as Azucena. After her unforgettable Fidès in Essen, she again portrayed and sang a mother figure of great allure. Cornetti sang in an interesting production of Joan Anton Rechi. Cornetti really has no competition in this role. When this Azucena sings about the execution of her mother, the hairs on your arms stand up. And when she proposes her son return to Biscaya, there's nothing left to do but cry silently. And of course, that royal and voluminous sound! The Spaniards adore it, like their paella. And so do I." Read the full review...
By Ovidi de Cardona, Doce Notas - July 25, 2017 "Among the female protagonists undoubtedly reigned the colossal Azucena by Marianne Cornetti , overwhelming on the scene and endowed with a powerful vocal instrument, cleverly exploited." Read the full review...
By Alejandro Martínez, Platea Magazine - July 24, 2017 "From the cast of this occasion, the most complete and overwhelming artist was undoubtedly the American mezzo-soprano Marianne Cornetti. Although somewhat bitter material, by timbre and color, she is an astute and skilled interpreter, capable of intense and vibrant phrasing...And we must take off our hats in any case before a lady who sings with that delivery eight times in just twelve days." Read the full review...
By Laura Roling, Operatics - April 14, 2017 "The equally large role of Fidès requires a mezzo-soprano/alto with a wide range and a lot of vocal power. Marianne Cornetti, costumed as a somewhat suffocating but homely matron, sounded wonderfully warm throughout, and her voice seemed able to meet the role’s high demands tirelessly." Read the full review...
By Lennaert von Anken, Placer de Opera - April 11, 2017 "The biggest surprise came from the fides of mezzo-soprano Marianne Cornetti...She was with her immense voice superior in the coronation scene...With ease she sang her beautiful low to its higher echelons. A unique singer. The star of the evening." Read the full review...
By Erica Miner, Broadway World - February 20, 2017 "...mezzo-soprano Marianne Cornetti won over the audience (and this reviewer) with her hilarious rendition of the pivotal Mistress Quickly. The difficulties of the role, with its many notes in the low register and physically challenging split-second timing, are often overlooked; Cornetti made it look and sound easy, with consistently rich tones and expertly played shenanigans." Read the full review...
By William Burnett, Opera War Horses - February 19, 2017 "Mistress Quickly is an 'over the top' role, which mezzo-soprano Marianne Cornetti pursued with relish. It's been a decade since I saw Cornetti as Azucena in this theater. Her Quickly, much of whose role lies low in the mezzo register, proved to be another impressive achievement in Verdian singing." Read the full review...
by Daniel Diz, Opera World - August 30, 2016 "[Marianne Cornetti] es un prodigio vocal. Timbre auténtico de mezzo, unos graves naturales rotundos, una voz ancha, rica en matices y armónicos, unos magníficos y squillantes agudos y una voz completamente homogénea en todos los registros, son las señas de identidad de esta cantante.... Pocas mezzos tan cualificadas, vocal y técnicamente, hay en la actualidad como esta cantante norteamericana." / "Marianne Cornetti is a vocal prodity. The authentic timber of a mezzo, a round natural lower register, a voice rich in nuance and harmonics, with a magnificent sharp sound and a complete homogenized voice in all of its registers, these are the hallmarks of this singer...Not many mezzos have these qualifications, vocally and technically, as this North American singer." Read the full review...
by Yehuda Shapiro, Opera Magazine - May 1, 2016 "Marianne Cornetti has sung the role more than 180 times and put all her experience into a detailed, moving characterization, astutely judged for the concert stage. If her timbre did not sear itself into the memory, her vocal command of this redoubtable role was complete."
by David Wright, Boston Classical Review - April 25, 2016 "For most of its course, this work seemed to “star” the mezzo-soprano soloist as the bearer of most of its message. Mezzo Cornetti rose to the role with fine, arching lines, her voice consistent in quality from the highest to lowest notes and in all dynamics from tenderest " Read the full review...
by Dominic Lowe, BachTrack - February 29, 2016 "In Marianne Cornetti, we had a sensational Azucena. She has sung the role throughout the world and her assumption of the part at this performance was total. She delivered a masterclass in concert performance: singing entirely from memory, she dominated the stage, writhing and glaring and somehow making one forget that Azucena must win the prize for worst mother in the whole of opera. Her voice is enormous...and her higher register remains as fresh as ever. Cornetti handled the top notes with ease, displaying fine breath control and particularly exquisite raw colouring at the lower levels." Read the full review...
by Hugh Canning, Sunday Times - February 29, 2016 "Marianne Cornetti, a big-voiced American who has sung Amneris at Covent Garden, was the audience’s favourite for her barnstorming style, tempered, admittedly, with some delicacy in Ai nostri monti."
by Lydia Lunning, Twin Cities Arts Reader - January 24, 2016 "Marianne Cornetti vacillates between charmingly batty and actually terrifying to great effect, with a commanding mezzo-soprano." Read the full review...
Andrew Carnegie Free Library & Music Hall, Carnegie, Pennsylvania, Seen and Heard International - November 5, 2015 "Cornetti opened the recital with “Dich, teure Halle” from Tannhäuser in tribute to the hall. A true dramatic mezzo soprano, Cornetti has an easy, thrilling upper extension to her voice, and gave a vibrant, ringing account of this Wagner favorite. She is an opera singer and makes no bones about it, devoting the first half of the recital entirely to arias. “Strida la vampa” and “Condotta ell’era in ceppi” from Il Trovatore and “Entweihte Götter” from Lohengrin are among Cornetti’s calling cards in opera houses around the world. (She just returned from a triumphant run of Ortruds in São Paulo, Brazil). All were beautifully sung, but the two highlights were “Voi lo sapete” from Cavalleria Rusticana and the seldom heard, but oft recorded, “Ô ma lyre immortelle” from Gounod’s Sapho." Read the full review...
by Jose M. Irurzun, Beckmesser - September 4, 2015 "Marianne Cornetti siempre ha encontrado en el personaje de Azucena su caballo de batalla y no ha sido ésta la excepción. Ella se entrega al personaje desde Stride la Vampa hasta el Sei vendicata. o madre con una gran intensidad, llegando con facilidad al público. Es verdad que Azucena, como ocurre con Liu o Micaela, siempre triunfa para el público, pero la Cornetti lo hizo francamente bien." / "Marianne Cornetti has always made the role of Azucena her workhouse and this is not an exception. She delivers the character from Stride la Vampa through the Sei vendicata, or mother with great intensity, reaching the audience easily. It's true that Azucena as happens with Liu or Micaela always triumphs in the minds of the audience, but Cornetti did this very well." Read the full review...
by Julian Carrillo, El Pais - September 4, 2015 "...las mayores ovaciones se las llevó por mérito propio Marianne Cornetti, cuya Azucena tuvo una vocalidad de generosísimo fraseo y una gestualidad facial y corporal llenas de fuerza dramática." / ..."the biggest ovations were received by Marianne Cornetti, whose Azucena took on a generous vocalism of phrasing and facial and bodily gestures full of dramatic force." Read the full review...
National Center for the Performing Arts, Beijing, China China Daily - July 27, 2015 "Acclaimed as "Specialized Households of Azucena", the American mezzo-soprano Marianne Cornetti gained once again the full-house applause with her Drama Bones in Last night's Il Trovatore. "Stride la vampa " revealed the twisted world inside this women's heart. Hearing that aria by such incredible and powerful voice of Cornetti's, the audiences were deeply dragged into her world and the misterious fate of Azucena's captured all of them."
LA Opus by Erica Miner - April 19, 2015 "Equally lush was Marianne Cornetti’s voice in the mezzo-soprano tour de force aria from Saint-Saëns’ Samson et Dalila, presented to its best advantage in its lower and middle range. She showed great dramatic flair in the duet from Verdi’s Don Carlo..." Read the full review...
Opera News by George Hall - December 18, 2014 "Marianne Cornetti’s convincing lower register helped her access all the notes in Ulrica’s part with a satisfyingly forceful impact, and she was distinctly game in her less than entirely serious characterization." Read the full review...
TC Daily Planet by Basil Considine - November 5, 2014 "Once she dons her witch-clown garb, Cornetti dazzles vocally and visually as she twirls malevolently around the stage." Read the full review...
St. Paul Pioneer Press by Rob Hubbard - November 2, 2014 "Yet the strongest voice in the production belongs to mezzo Marianne Cornetti, who holds down two roles. Yes, she's the witch in the final act, but her version of Hansel and Gretel's mother is even scarier, for she displays the earmarks of an abusive parent, the kind of loose cannon who inspires considerably more fear than affection in her children. By contrast, Cornetti's witch is clad in a bright yellow, red-polka-dotted "Pagliacci"-style clown outfit that makes her none too daunting. Once we're in her kitchen -- which she commandeers as if hosting a cooking show -- it never feels as if a happy ending is too far away." Read the full review...
Pittsburgh Tribune Review by Mark Kanny - October 19, 2014 "Dramatic mezzo-soprano Marianne Cornetti began with an intense account of “Voi lo sapete” from Pietro Mascagni's “Cavalleria Rusticana,” and was in superb voice throughout." Read the full review...
Bachtrack by Christie Franke - February 5, 2014 "As Laura, his lover, Marianne Cornetti owned the role of this noble woman in an unhappy marriage, her voice big and full, rising effortlessly to the challenge of her arias and ensembles. The cat fight with Gioconda over Enzo, “E un anatema!... L’amo come il fulgor creato”, was particularly well-rendered." Read the full review...
Bachtrack by Nahoko Gotoh - June 01, 2013 "Musically, the production was generally strong with excellent singing especially from mezzo-soprano Marianne Cornetti (Abigaille)... Cornetti sang with power and consistency across the vocal range – equally at ease in her vengeance cabaletta in Act II and her moving final aria of repentance." Read the full review...
musicalcriticism.com by Dominic McHugh - April 28, 2010 "The loudest applause of the night was saved for Marianne Cornetti's Amneris, and rightly so. It's amazing that through such cumbersome headdresses and make-up, Cornetti was still able to create a vivid character and present a threat to the Aida-Radames relationship. Her singing was impassioned and incisive, and she commanded the stage at several moments: highlights included the duet with Aida in Act 2, when the revolving stage was at its most effective, and the trial scene, which drew heavy cheers from the audience." Read the full review...
Daily Mail.com by David Gillard for MailOnline - April 30, 2010 "The biggest cheers were reserved for American mezzo Marianne Cornetti, whose formidable Amneris was a heavyweight blast from the past." Read the full review...
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