Vocalist - Soprano
‘An Evening Of Mozart: The Da Ponte Operas’ by Maryland Lyric Opera’s Young Artist Institute

"The Recitativo ed aria 'Giunse al fin il momento' was sung by Mary Feminear in a silvery soprano and she hit the high notes beautifully."

David Friscic, DC Metro Theater Arts
Carmen - Grand Théâtre de Genève

"The voice of Mary Feminear, certainly sweet of sound, is nevertheless ample and large, with high notes that are secure, fast-moving and grounded..." 

Charles Arden, Olyrix
Carmen - Grand Théâtre de Genève

"We found beautiful voices elsewhere, convincing in their precision and their simplicity. That of Mary Feminear (a poignant Micaëla)..."

Rocco Zacheo, Tribune de Genève
THE MAGIC FLUTE – Pacific MusicWorks

"The cast is exceptional. [Stephen] Stubbs lined up Mary Feminear, one of the stars of Seattle Opera’s “Semele” earlier this year, as Pamina, and she demonstrated not only amazing versatility but also a voice of remarkable size and brilliance.”

Melinda Bargreen, The Seattle Times
DON GIOVANNI - Grand Théâtre de Genève

“Mary Feminear (Zerlina)....The American soprano-in-residence at the Grand Théâtre de Genève offers the most moving moment of the evening with an extraordinary 'Batti, Batti, mio Masetto,' imbued with an uncommon grace. The freshness of the tone, diction, theatrical intention, musicality, spirit, everything was present in these moments of real artistic interpretation. In these few moments of song, Mary Feminear confirms the reasons that a spectator would go to the opera."

Jacques Schmitt, Res Musica
A Contract for Excellence

"Magnificent and artful in her full-voiced delivery."

Oregon ArtsWatch
Monteverdi’s Earliest Opera ‘Orfeo’ Sings Out Thrillingly at Pacific MusicWorks

"... splendidly dramatic ..."

Philippa Kiraly, Sunbreak

"... the formidable Mary Feminear (irresistible as Amore) who displays production after production a talent more than promising."

Sylvie Bonier, Le Temps

"Mary Feminear's soprano voice is such a beautiful discovery. Its flexibility, extension and freshness make her Nannetta, who bears nicely on stage, a real treat."

Maurice Salles, Forum Opera
An Opera Company Matures in the Midwest

"Mary Feminear was a charming Semele, her luminous soprano full of longing and sensual promise, and her coloratura playfully coy in “Endless pleasure, endless love” and brilliantly pyrotechnical in “Myself I shall adore.” You actually felt sorry for her when she was incinerated at the end, rather than thinking her a nitwit who got what she deserved."

Heidi Waleson, Wall Street Journal

"Mary Feminear was the standout as a feisty Pamina, determined to avoid becoming a victim and matching the confident optimism of her character with a luminous vocal beauty."

Musical America

“Mary Feminear showed versatility as Magdalene in her sorrowing and then in her transcendent joy.”

New York Times
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