Vocalist - Soprano
Acclaim
Review: Festival Opera delivers powerful, Holocaust-themed double bill

“Soprano Marie Plette made a forceful case for it. Plette’s voice is large and lustrous throughout her range, and her ability to articulate the text with clarity and pinpoint dynamics was impressive. Throughout the performance, she expressed the character’s anguish and uncertainty with devastating precision.”

Georgia Rowe, San Jose Mercury News
Festival Opera review: Holocaust-themed bill delivers

“An arresting performance by soprano Marie Plette … who brought a wonderful combination of pathos and vocal splendor to her depiction of the Auschwitz survivor Krystyna Zywulska.”

Joshua Kosman, San Francisco Chronicle
'Vanessa' review: Gothic love blooms
“The performers - led by the superb soprano Marie Plette in the title role - had an opportunity to bring the audience directly into the world of the opera. It’s rare to encounter an opera done with such intimacy and emotional transparency, and the close quarters only helped.... The most powerful contribution came from Plette, whose Vanessa was an alluring bundle of angst, charm and self-deception. Singing with vibrant, dynamically responsive sound and skillfully modulating her vocal power for the circumstances, she made the character’s plight seem almost unerringly plausible.”
Joshua Kosman, San Francisco Chronicle
Anchorage Opera presents Puccini classic, Tosca
“Tosca is full of remarkable arias, but its most well-known is ‘Vissi d’arte,’ sung by the soprano [Marie Plette], Tosca.… Plette delivers a wonderful rendition, enhanced by director Marc Astafan’s almost minimalist staging. As one of opera’s most famous arias, it is here given appropriate reverence.”
Loren Holmes, Alaska Dispatch
Las Vegas Philharmonic christens its new home
"Ready they were, with all the reinforcements required to pull off a successful performance of Mahler's work: soprano Marie Plette (whose career has only shot higher since winning the Metropolitan Opera National Council Auditions 20 years ago) and mezzo-soprano Eugenie Grunewald (receiving nothing but well-deserved raves for the better part of a decade). Both were in fine form, swaying gently while seated from the Third Movement on, and letting it rip when it was time to stand up and go."
Nathan Tannenbaum, Las Vegas Review-Journal
"Plette entered forcefully, her powerful voice projecting well through the auditorium's murky acoustics. She is clearly an operatic singer with ... enough lung power to scare off the most nefarious villain."
Steve Osborn, San Francisco Classical Voice
'Ariadne auf Naxos' review: Balancing act pays off
"The fact that the Composer sings only during the prologue has rarely come as such a disappointment. But there were compensatory pleasures, including soprano Marie Plette's lustrous, long-breathed singing in the title role, which combined eloquence and fervor in equal measure."
Joshua Kosman, San Francisco Chronicle
West Edge Opera blends high art, low comedy in 'Ariadne'
"Marie Plette put her honeyed soprano to beautiful use as the abandoned Ariadne character of Greek myth."
Cheryl North, San Jose Mercury News
Der Ring des Nibelungen, Seattle Opera, 8/9-14/09
"Marie Plette's sympathetic soprano is the sort that one associates with the helpless characters of Freia and Gutrune; Gutrune's melodramatic suicide certainly livened things up, though."
James C. Whitson, Opera News
Götterdämmerung triumphs with Baird's Brünnhilde leading the way
"Marie Plette was suberp as Gutrune."
James Bash, Northwest Reverb
Second Ring Cycle: Die Walküre smolders and catches fire
"The Valkyries (Brünnhilde and her eight sisters) raised their voices impressively from the mountaintop. Miriam Murphy, Sally Wolf, Luretta Bybee, Jennifer Hines, Marie Plette, Sarah Heltzel, Michèle Losier, and Maria Steijffert seemed to have fun too boot."
James Bash, The Gathering Note
Familiar emotions writ large
"Marie Plette - sympathetic and attractive as Freia, Ortlinde and Gutrune..."
Maggie Larrick, Queen Anne News
'Götterdämmerung' had bright, fiery moments and a few low notes, too
"Marie Plette made a lovely, empathetic Gutrune."
Melinda Bargreen, Seattle Times
Ringblogging I: Rheingold in Seattle
"Most of the rest of the cast was first-rate, too ... Marie Plette as a bright-toned Freia ..."
Joshua Kosman, On a Pacific Aisle
'Die Walküre': a pulse-pounding night for 'Ring' fans
"The Valkyries were in terrific form. A tip of the winged helmet to Valkyries Miriam Murphy, Sally Wolf, Luretta Bybee, Jennifer Hines, Marie Plette, Sarah Heltzel, Michele Losier and Maria Streijffert."
Melinda Bargreen, Seattle Times
Jennifer Hines (Flosshilde), Mich&egrave;le Losier (Wellgunde), and Julianne Gearhart (Woglinde) swim through the stage of "Das Rheingold," with Richard Paul Fink as Alberich.<br />
Seattle Opera's magic "Ring"
"Marie Plette is suitably light and young as the ransomed Freia."
Rosemary Ponnekanti, Tacoma News Tribune
"Marie Plette was Freia, her soprano distinctive, vibrant, intense." [DAS RHEINGOLD - Seattle Opera]
San Francisco Classical Voice
"This 'Walküre' is fortunate in its cast of Valkyries (... Marie Plette...); an uproarious bunch whose singing and acting are both stellar. The scene in which they take their farewell from the exiled Brünnhilde is surprisingly affecting...." [DIE WALKÜRE - Seattle Opera]
Seattle Times
"The soprano of the night was Marie Plette as Liu, always the opera's most sympathetic character. The beauty of her voice and the expressive nuances she imparted to her arias combined to make the most stellar single performance of the evening." [TURANDOT - Columbus Symphony Orchestra]
Columbus Dispatch
Total: 19 (Viewing: 1–19)