REVIEWS:
Des Moines’ Juicy Oranges Have Zesty Ap-peel
Maggie Renée (Nicolette) made the most of every note. Ms. Renée’s plummy mezzo was even throughout the range.
(July, 2023)
© Opera Today
OPERA INDEX GALA
Opening the program was magnificent mezzo Maggie Renée who moved around the audience seducing us with a spirited "Seguidilla" from Bizet's Carmen. It is quite a special gift to combine a rich mezzo tone with technical aplomb and firm dramatic instincts!
(January 23, 2023)
© meche kroop
ATALANTA
Renée exhibited a rounded, honeyed mezzo and a realistic sense of character....(Joanne Sydney Lessner, 11/11/22)
Opera News
HIP HÄNDEL
Maggie Renée immersed herself totally in the role of Irene...(November 12, 2022)
© meche kroop
Barbara Hannigan & Juilliard Orchestra, Musica Sacra
...but the palm for verbal expressiveness went to the Récitante of Maggie Reneé, who made every word tell in vivid, seamless mezzo timbre. (David Shengold, 3/31/22)
Opera News
Film Festival Traveler
Rake's Progress
Maggie Renée was a commandingly sensual Baba the Turk, emerging from her curtained sedan chair (here an oversized tricycle) and owning her uniqueness. She flirted, winked and Instagrammed her flowing, wavy beard, emphasizing Baba's humanity with a rich, silky mezzo. (Joanne Sydney Lessner, May 2022)
Opera News
Maggie Reneé, a tall woman with a sizable mezzo, proud of every one of her tresses, both cranial and facial, moved amiably through Baba the Turk’s music (John Yohalem, February 20, 2022)
Parterre Box
An emotional year is reflected in the return of New York Festival of Song
Maggie Reneé made her bow in a lied with a different message, Brahms’s exuberant “Meine Liebe ist grün” (My love is evergreen) of 1873, to a text by Robert and Clara Schumann’s son Felix. Reneé’s full-out classical vocalism, ripe with vibrato and gleaming high notes, came as a relief late in a mostly-introspective program. (David Wright, Nov 17, 2021)
New York Classical Review
The Juilliard School 2019-20 Review: Rinaldo
Senior Maggie Renée Valdman, in the generously cut-down version of Goffredo, possesses a luscious and deep mezzo sound suited well for the music. Her interpretation was earnest and wise, commanding the stature of an army general. (Arya Roshanianm, Feb 21, 2020)
Opera Wire
------------------------------
Love Sex Magic
As Goffredo, head of the Crusade and father of the heroine, Maggie Reneé Valdman’s suavely forthright and impressive mezzo made her character far less of a distraction than he can sometimes be: the character of his brother Eustazio was entirely omitted from the sensibly abridged performing edition Juilliard used. More than once I thought Valdman might have made quite a worthy Rinaldo. (Christopher Corwin, Feb 19, 2020)
Parterre Box
------------------------------
Battle of the Sexes, Battle of the Faiths
Mezzo-soprano Maggie Renée Valdman made a strong Goffredo, evincing a richly textured sound and masculine posture. Phrasing and breath control, as well as dynamics, made for a fine performance. (Meche Kroop, Feb 18, 2020)
Voce Di Meche
------------------------------
An Epic Feast for the Ears
...up and coming mezzo Maggie Renee Valdman, a singer to keep your eye on. (Christina Linhardt, Dec 28, 2019)
California Philharmonic
------------------------------
Talents of the World 2019 Review: International Voice Competition Grand Finals
Mezzo-soprano Maggie Renee Valdman came next, singing Olga’s aria from “Eugene Onegin.” Her bubbly opening soon tapered to a slower, lovely sentiment which retained its brightness even as Valdman dipped into her lower register. Her second number, “Must the Winter Come So Soon” from Barber’s “Vanessa,” made for a reflective contrast. Valdman’s questioning tones made her phrases sadly ache through this slower aria.(Logan Martell, Dec 10, 2019)
Opera Wire
------------------------------
MENTIONS:
