Vocalist - Mezzo-Soprano
‘Sky on Swings,’ the Alzheimer’s opera, opens O18 festival with a winner

"Unquestionably, Simpson and Von Stade delivered some of the most compelling work of their long careers. Much of Simpson's has been in oratorio, and the more formal elocution that comes with that world made her words resound with meaning."

David Patrick Stearns, The Philadelphia Inquirer
Composer Rutter feels the spirit in St. Paul Cathedral choral event

"The renowned mezzo-soprano Marietta Simpson was the soloist and brought a deep, soulful authority to quieter numbers such as 'Steal Away' and 'Sometimes I Feel Like a Motherless Child.'"

Terry Blaine, Star Tribune

“The true star of this performance was mezzo-soprano Marietta Simpson.”

Alison Kaufman, Eugene Register-Guard
Shadow & Light at Beall Hall

Mezzo-soprano Mariette Simpson’s haunting, reserved portrayal of a woman who clings to the routines of daily life in order to appear normal, enough, is unforgettable.

Rachel Carnes, Eugene Weekly
‘Cold Mountain’ at The Academy of Music in Philadelphia

“Lucinda, a runaway slave, [is] played with strength and poignancy by Marietta Simpson.”

Deb Miller, DC Metro Theater Arts
'Cold Mountain' at the Academy

“Marietta Simpson's in a role as minor as that of Lucinda, a runaway slave; she was potent as ever.”

Peter Dobrin, Philadelphia Inquirer
Cold Mountain

“But pride of place went to Marietta Simpson’s Lucinda ... here the veteran Philadelphia mezzo gave both words and tone infinitely touching and vivid expressiveness.”

David Shengold, Opera News
Candide Comes to Glimmerglass

“Mezzo-soprano Marietta Simpson, well remembered as a stellar member of Tri-Cities Opera, played the Old Woman, with humor, sensitivity, and beautiful even tones.”

Jane Dieckmann, Ithaca Times
Glimmerglass Festival: no better place for The Magic Flute and Candide

“Marietta Simpson as the Old Lady ... make[s] great contributions to the show and create[s a] strong character.”

Susan Galbraith, DC Theatre Scene
SHOWBOAT - Houston Grand Opera
“A further measure of comedy lay in the spirited banter between the feisty Queenie (mezzo-soprano Marietta Simpson) and the wise but phlegmatic Joe.”
Gregory Barnett, Opera News
Hop aboard HGO's majestic 'Show Boat'
“Marietta Simpson projects sass and skepticism as his [Joe’s] chiding, yet warm-hearted wife, Queenie - foreboding in ‘Misery’ and cutting loose exuberantly in ‘Hey, Feller!’”
Everett Evans, Houston Chronicle
“Simpson is a lively Queenie, snipping at no-count husband Joe for always shirking work, but comforting the showfolk when times get tough. Her ‘Queenie’s Ballyhoo,’ where she wrangles up the blacks to fill the showboat is a highpoint.”
D.L. Groover, Houston Press
Houston Grand Opera's Entertaining SHOW BOAT Dazzles and Delights
“Marietta Simpson breathes brilliant life into Queenie, an African-American woman that society wants to oppress despite her ability to stand up for herself. At the top of the show she unabashedly talks back to Pete and challenges his superiority over her, which sets into motion the major conflict of the first act. This trait continues, and is even peppered with humor as she constantly derides her husband for being ‘lazy’ and ‘shiftless.’ Marietta Simpson's singing on numbers like ‘Mis’ry’s Comin’ Round’ and ‘Queenie’s Ballyhoo’ is sublimely evocative and emotionally stirring. Her unwavering voice gleams with lustrous control and luxurious emotional depth.”
David Clarke, Broadway World
“Perhaps the greatest singer is Marietta Simpson as Queenie.”
Theodore Bale, Houston CultureMap
Going Home
“Marietta Simpson and Morris Robinson also perfectly inhabit their characters. Simpson's Queenie is the wise sage, but also wonderfully rambunctious, and she too possesses a topnotch voice for Kern's melodies.”
Marcus Karl Maroney, ConcertoNet.com
Something Within: Marietta Simpson gets to the heart of sacred song
"Simpson's voice was a melodious comfort to the ear as the text evoked 'If thou art near I go in gladness, to eternal joy, eternal peace.' Her trills were effortless and her voice offered such a luxurious warmth."
Patrick McCoy, Examiner.com
Baroque drama pervades Alabama Symphony's 'St. Matthew Passion'
"Among other standout solos were Marietta Simpson's dusky-voiced alto in 'Have mercy on me'."
Michael Huebner, Birmingham News
An inspiring Music Hall 'Messiah
"Mezzo-soprano Marietta Simpson, who was a longtime favorite soloist of choral legend Robert Shaw, handled her leaps and flourishes with aplomb.... Her finest moment was 'He was despised,' a deeply felt portrayal of the crucifixion."
Janelle Gelfand, Cincinnati Enquirer
Baldwin-Wallace Bach Festival a presentation by gifted students and pros
"The alto solos had a warm advocate in mezzo-soprano Marietta Simpson, who conveyed the fact that the alto has some of the best music Bach conceived."
Donald Rosenberg, Cleveland Plain Dealer
Porgy and Bess, Lyric Opera of Chicago, 11/18/08
"Marietta Simpson's earthy Maria was appropriately feisty and warmly maternal."
Mark Thomas Ketterson, Opera News
A vivid, compelling tour of Catfish Row at Lyric
"Mezzo-soprano Marietta Simpson draws you to her earthy Maria."
John von Rhein, Chicago Tribune
"... mezzo-soprano Marietta Simpson's poignant rendition of "Guide My Feet" was simply breathtaking." Read More...
Grace Jean, Washington Post
"A dignified, sympathetic dramatic presence as Addie, Marietta Simpson made ravishing sounds in her contralto-like lower register..." [REGINA - Bard SummerScape]
Opera News
"Simpson's voice was low, smooth, rich but not heavy. The portions of the work in which she sang accompanied by the French horns were particularly lovely, bringing out the warmth of her voice and of the brass instruments that Mahler so loved. Simpson had a calm, dignified presence but also displayed a wide range of emotion. She was able to create a marvelous legato, smooth line. At times it seemed as if she never took a breath. Her technique, especially her breath control, was excellent. She had a good feel for the dramatic impact of the work. For many singers, there is emphasis on creating beautiful low and high notes, but there is sometimes neglect of the middle notes. Simpson showed off velvety low notes and silken high ones, but she was also able to prove that the middle, too, holds great beauty." [Mahler's SYMPHONY NO. 3 IN D MINOR - Huntsville Symphony]
Huntsville Times
"Marietta Simpson's strong, watchful Addie could hardly have been improved upon." [Blitzstein's REGINA - Kennedy Center]
Opera News
Total: 25 (Viewing: 1–25)