"Ancestral Voices — a piece I consider to be one of the best sets of orchestral songs written in this country — ...the four songs so beautifully sung by mezzo soprano Marion Newman."
David Gordon Duke, Vancouver Sun
"...Indigenous guest lecturer Dr. Wilson, played with dignity and power by mezzo-soprano Marion Newman, whose discussion of entrenched racism highlights the inherent injustice of Canada's legal system."
Roberta Staley, The WholeNote
"Mezzo-soprano Marion Newman exuded strength and restraint in the challenging role of Dr. Wilson, who gets into a heated debate about racism in a college class and has some of the few spoken sections of the opera.
She says: 'Answer me this - what happens to a society when we can't recognize another human being as… a part of ourselves? What are we missing?'"
Sarah Petrescu, Times Colonist
"...the opera's catalyst is the surprisingly enlightened University Professor, Dr. Wilson, authoritatively sung by mezzo-soprano Marion Newman…"
Robert Jordan, Opera Canada
"Ava begins to work with UBC professor Dr. Ruth Wilson (strong First Nations mezzo Marion Newman) to learn the Gitxsan language and culture…"
Robin J. Miller, Opera Canada
The Lesson of Da Ji
"In the title role, Marion Newman sings with rich, opulent tone, and her delivery pulses with the multiple meanings of her duplicitous existence."
Joshua Rosenblum, Opera News
"Newman continues to impress with both acting and vocal skills. Her beautiful voice has heft and power, but at the same time an innate sweetness. She modulates it extremely well."
Paula Citron, Opera Canada
"Mezzo Marion Newman stood out in this excellently prepared cast... Newman, who is on stage for the opera's full hour, was able to bring a wide dramatic and vocal range to the role of Da Ji"
John Terauds, MusicalToronto.org
"Mezzo-soprano Marion Newman has full, rounded voice and easily captures the many facets of Da Ji’s nature – flirtatiousness, anger, fear, shame, pride – that make her such a fascinating character."
Christopher Hoile, Stage-Door.com
"There were some good performances, notably Derek Kwan as Bo Ji and Marion Newman as Da Ji. Both showed skill, artistry and versatility. "
John Gilks, OperaRamblings Blog
Amor Brujo & Carmen Arias
"Mezzo soprano Newman was featured in two works: Manual de Falla's El Amor Brujo, and two arias from George Bizet's opera Carmen. The vocalist is limited to a couple of dramatic statements and one beautifully melodic song (in the Amor Brujo), all of which give the audience a clear introduction to the extensive vocal talents of the soloist. But it was in the Bizet arias where Newman really shone. In addition to a beautiful, velvety voice, she has an enormous breadth of vocal colours as well as an agile technique which allowed her to move with ease from dark brooding passages to bright, sprightly moods as the music demanded. Newman is also a consummate actress and she brought this talent into play by expressing the songs with facial and body gestures in such a way that her performances of Seguidilla and Gypsy Song completely enchanted the audience.
But it was in the Bizet arias where Newman really shone. In addition to a beautiful, velvety voice, she has an enormous breadth of vocal colours as well as an agile technique which allowed her to move with ease from dark brooding passages to bright, sprightly moods as the music demanded. Newman is also a consummate actress and she brought this talent into play by expressing the songs with facial and body gestures in such a way that her performances of Seguidilla and Gypsy Song completely enchanted the audience. "
Timothy McGee, The Peterborough Examiner
"The bulk of the comedy is provided by terrific singer actors... (including) Marion Newman as his petty, preening daughter [Tisbe]... convey larger-than-life personas and sing with an easy virtuosity."
Victoria Times Colonist
"Marion Newman (Noodin-Kwe) came to the project with an already formidable reputation. She has a gorgeous voice, lustrous and burnished in sound, which she can bend at will, whether as a soft lullaby for her child or a singing declamation against injustice."
Paula Citron, Opera Canada
"But the greatest accolades go to the committed, passionate and enthusiastic cast, led by First Nations mezzo Marion Newman, who successfully brought to life Noodin-Kwe, the fictional and symbolic 150 year old native woman fighting for her land. Yes, I believe those were real tears on her face at the end of the final scene."
Joseph So, La Scena Musicale
April 12, 2010
"One would like to hear more from Noodin-Kwe... Newman’s rich, powerful voice is ideal for Noodin-Kwe, so much so that we would like longer arias simply to showcase it."
Christopher Hoile, Eye Weekly
April 12, 2010
"The cast rose to the occasion and gave a committed ensemble performance. Marion Newman, as Noodin-Kwe, displayed a clear mezzo with an impressive range. She was well paired with the smooth baritone of Jesse Clark as Jean."
Colin Eatock, the Globe and Mail
April 11, 2010
Handel's Messiah with the Aradia Ensemble
"I have to state the female soloists were the stars of this concert… Mezzo-soprano Marion Newman's glowing delivery reminded me of an early ’80s glorious Shaw Festival performance"
Donald D’Haene, Beatmagazine.ca
"...but for me it was the work of... mezzo-soprano Marion Newman that shone most. Newman possesses an extremely sensual quality to her portions, and showed masterful restraint where a lesser performer would have warped the vocal melody beyond recognition with pointless melismatic pomposity. She seemed to wrench the piece out of time altogether at some points, in some instances (as in the opening of the Passion) driving the words home so that they don't even seem to be the rather ignorable prose that they really are."
Dec 8, 2009
Rinaldo Naxos Recording
"Marion Newman is the vocal surprise of this recording, showing a remarkable versatility for such a short role; she has a magnificently full bodied voice reminiscent of Jennifer Larmore's in her "Mio cor, che mi sai dir?" and a tamed, almost without vibrato, and androgynous tone in "Sorge nel petto."
Jacqueline Waeber, Early Music America
Vol 15, 2009
"Outstanding is the performance of Marion Newman in the role of Goffredo"
John Butt, Project Muse
Griselda Naxos Recording
**** (BBC Music Choice)
"...it is Marion Newman in the title role... who steal[s] the show..."
"Marion Newman triumphs as Griselda"
Nicholas Anderson, BBC Magazine
"Marion Newman is an expressive, rather vibrant Griselda and the recitative and aria that finish act 1 (CD 1 track 15) is a dramatic high-spot."
Göran Forsling, Music Web International
"Marion Newman is a good Griselda, noble and sympathetic, with a warm timbre."
Bob Stanton, Amazon.ca
Vivaldi Stabat Mater Recording
"[Newman's] approach suits perfectly the dolorous mood of the Stabat Mater, where Vivaldi repeats the music to create a taut structure through constantly-changing text"
George Pratt, BBC Magazine
Opera 2005 Barber of Seville
**** (Four out of Five Stars)
"The Opera 2005 presentation of Rossini's comic masterpiece is the best-integrated production of opera I have attended... Marion Newman (Rosina) could not be faulted in her playing or, indeed, her singing of Una voce poco fa or the duet Ah che d'amore."
Irish Examiner, Cork Ireland
Opera 2005 Carmen
***** (Five Stars)
"Marion Newman in the principal role of Carmen is a very exciting new talent. She sparked an electricity which totally engrossed the audience with her superbly sinuous sexuality... Prudes may raise their eyebrows at the sensuality of this Carmen; theatregoers will clamour for more."
Irish Examiner, Cork Ireland
"Marion Newman as Carmen... with conductor Kevin Mallon lever[ed] the musical and vocal achievements onto an altogether higher level."
Women's Musical Club of Toronto Recital Review
"Newman's voice flows... like a deep river moving through a delta towards the open sea."
"Ms. Newman’s remarkably flexible vocalizations reflect... her ability to go deeply into a role and remain there..."
"...[She] sings in a voice rich in tones of seduction towards the erotic."
"There was magic in the collaboration of voice and piano during the concluding performance of Mahler's introverted love song cycle Fünf Ruckert Lieder. Gregory Oh clearly felt Mahler's flowing melodies, and the warm richness of Marion Newman's vocal colours opened space after space of feelings extenuated to the verges of pain."
Stanley Fefferman, ShowtimeMagazine.ca
Stabat Mater Naxos Recording
"...what really won me over to the Aradia disc was the passionate and moving performance by Canadian mezzo-soprano Marion Newman in the Stabat Mater. As they say in the movies, worth the price of admission."
Heidi Mackenzie, The Whole Note Magazine
Royal Golden Jubilee Gala Concert Acknowledgment
"...a jewel in Canada’s impressive performing arts crown."
Peter Herrndorf, National Arts Centre
Opera York Carmen
"...the most memorable performance of the evening belonged to mezzo Marion Newman (Carmen), gifted with an excellent voice and impressive stage presence. Newman, a comparative newcomer, is a real find. She imbued her Carmen with a charming seductiveness and beautifully warm legato line that marks her as a talent to watch."
Timothy McGee, Opera Canada
"Marion Newman as Carmen dazzled with her defiant nature and wonderfully rich voice."
Eyes on Baroque, Aradia Ensemble Concert
"Newman sang Vivaldi's powerful Stabat Mater and mini-cantata Clarae stellae, scintillate. She has a distinctive, dusky voice that suggests drama with every note..."
John Terauds, Classical Music Critic, Toronto Star
"Mezzo-soprano Marion Newman in the title role displayed a juicy, distinctive sound and even tone throughout."
Paula Citron, Classical 96.3
Ottawa Choral Society Raminsh Magnificat
"Featuring the lovely singing of mezzo-soprano Marion Newman... one of the afternoon's highlights."
Pacific Opera Victoria Wozzeck
"Marion Newman as Margret has the acting chops and the voice to add depth to her supporting role."
Pacific Opera Victoria The Tempest
"The three Goddesses, Iris, Ceres and Juno played by Phoebe MacRae, Michelle Sutton and Marion Newman had the best aria of the night... a thrilling trio!"
CBC Radio "On the Island"
"Bizet must have had a lithesome singer with the exotic good looks and singing voice of Marion Newman in mind when he composed Carmen's sensuous songs."
John Arnett, Sooke News Mirror
"Marion's voice has always been a strikingly beautiful instrument - a Bordeaux rather than a Beaujolais - and her singing has always been enriched by her intelligence and musicianship."
Robert Holliston, Sooke News Mirror
"...a beautiful voice, of a warm and sensuous timbre, easy on top and with a full bottom."
Nico Castel, Metropolitan Opera
“...a wonderful actress with a luscious mezzo soprano voice and a captivating vivacity that suits Carmen.”
Penelope Cookson, Opera York
"...a clear, rich voice with tonal beauty throughout a very wide range, an instinctive sense of style and idiom, and a compelling stage presence."
Mary McGeer, Talisker Players Chamber Ensemble
"Marion Newman finds voice to everything from the darkest tragedies to the lightest comedies."
"Newman’s voice is a unique instrument, possessing all the warmth and richness of the mezzo-soprano along with the more robust quality of the contralto and a vibrancy more common to the soprano."