{"id":18,"date":"2020-05-18T23:58:46","date_gmt":"2020-05-18T14:58:46","guid":{"rendered":"https:\/\/marimoriya.com\/en\/?page_id=18"},"modified":"2020-05-26T18:01:58","modified_gmt":"2020-05-26T09:01:58","slug":"reviews","status":"publish","type":"page","link":"https:\/\/marimoriya.com\/en\/reviews\/","title":{"rendered":"REVIEWS"},"content":{"rendered":"

Carmina Burana \/ Landestheater Linz<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201c\u2026<\/strong>\u00a0des Soprans\u00a0Mari Moriya\u00a0<\/strong>geh\u00f6ren zum besten, was bislang am Landestheater zu h\u00f6ren war \u2013 sei es beim scheinbar m\u00fchelosen Ansingen gegen das gro\u00dfe Orchester, sei es in wunderbar zart phrasierten und trotzdem tragf\u00e4higen, lange ausgesungenen Pianissimostellen \u2013 \u2026\u2026.. Weltklasse!\u201d<\/p>\r\n\r\n\r\n\r\n

Der Neue Merker<\/em><\/p>\r\n\r\n\r\n\r\n

\u201c\u2026und Mari Moriya mit ihrem Dauerg\u00e4nsehaut erzeugenden, klaren Sopran.\u201d<\/em><\/p>\r\n\r\n\r\n\r\n

O\u00d6 Nachrichten<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cMari Moriya (Sopran), Matth\u00e4us Schmidlechner (Tenor) und Seho Chang (Bariton) f\u00fcgten sich tadellos in das Orff\u2019sche Prachtwerk ein.\u201d<\/p>\r\n\r\n\r\n\r\n

Kleine Zeitung<\/em><\/p>\r\n

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QUEEN OF THE NIGHT: DIE ZAUBERFL\u00d6TE \/ Landestheater Linz<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201c<\/strong>Mari Moriya ist eine \u201eK\u00f6nigin der Nacht\u201c, die auch internationalen Opernh\u00e4usern alle Ehre machen w\u00fcrde \u2013 einfach sensationell.\u201d<\/p>\r\n\r\n\r\n\r\n

ORF<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cMari Moriya\u00a0<\/strong>macht ihr \u201eErzittre nicht\u201c mit wundersch\u00f6ner Stimme und perfekt mit dem Orchester abgestimmter Agogik zu einer dramatischen und tief bewegenden Erz\u00e4hlung, saubere und pr\u00e4zise Koloraturen eingeschlossen\u2026..Als die K\u00f6nigin der Nacht ein zweites Mal auftritt, sind wir bei einem sich verfinsternden Mond und w\u00fcsten Gewitterwolken mit heftigen Blitzen angelangt. Frau Moriya l\u00e4\u00dft sich aber auch durch diesen aufregenden Hintergrund nicht die Schau stehlen und dominiert mit ihrer Stimme und ihrer Erscheinung die Szenerie.\u201d<\/p>\r\n\r\n\r\n\r\n

Der Neue Merker<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cNat\u00fcrlich wartet das Publikum gespannt auf die ber\u00fchmte Arie der K\u00f6nigin der Nacht \u2013 ja, und Mari Moriya l\u00e4sst ihre wendigen Stimmb\u00e4nder die messerscharfen Spitzent\u00f6ne und Koloraturen bravour\u00f6s t\u00e4nzeln: sensationell!\u201d<\/p>\r\n\r\n\r\n\r\n

O\u00d6 Nachrichten<\/em><\/p>\r\n

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LI\u00d9: TURANDOT \/ OPERA IRELAND<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201c\u2026the sumptuous-voiced Japanese lyric soprano Mari Moriya.\u201d<\/p>\r\n\r\n\r\n\r\n

Opera<\/em><\/p>\r\n\r\n\r\n\r\n

\u201c\u2026absolutely stole the show\u2026Her first aria \u2018Signore, ascolta\u2019 displayed a hair-raising control of dynamics and vibrato, her every nuance of timbre faithful to her character and to the poignant words of her aria.\u201d<\/p>\r\n\r\n\r\n\r\n

Sunday Tribune<\/em><\/p>\r\n

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ZERBINETTA: ARIADNE AUF NAXOS \/ OPERA IRELAND<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201cThe Japanese soprano Mari Moriya sailed through Zerbinetta\u2019s coloratura as though it were just a morning exercise\u2026.\u201d<\/p>\r\n\r\n\r\n\r\n

Opera<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cThe coloratura Zerbinetta, who leads the giddy commedia dell\u2019arte troupe in prologue and opera, finds soprano Mari Moriya exceptionally agile with a weightier tone than one normally expects for this flibbertigibbet.\u201d<\/p>\r\n\r\n\r\n\r\n

Irish Independent<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cThe Japanese soprano Mari Moriya made light of the coloratura terrors of Zerbinetta\u2019s part\u2026\u201d<\/p>\r\n\r\n\r\n\r\n

Sunday Times<\/em><\/p>\r\n

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LAKM\u00c9 \/ LANDESTHEATER LINZ<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201cThe Japanese soprano Mari Moriya was an ideal candidate for the difficult and not always rewarding role of Lakm\u00e9. In the lyrical passages she enchanted with her soft pianos, quite as much as in the virtuoso coloratura of the \u2018Bell Song.\u201d This was a fabulous performance.\u201d<\/p>\r\n\r\n\r\n\r\n

O\u00f6Nachrichten<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cIn an excellent cast, it must nevertheless be stated that Mari Moriya was in a class of her own. With a range from almost whispered, but still clearly audible pianissimi, to a powerful yet still rounded fortissimo that threatens to overwhelm the our intimate national theatre, the delicate soprano has everything needed to succeed as a top singer and she is also a convincing actress. The Bell Aria (O\u00f9 va la jeune Hindoue) with all its harmonic and technical difficulties was perfectly sung, as convincingly musically as dramatically.\u201d<\/p>\r\n\r\n\r\n\r\n

Der neue Merker<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cMari Moriya gave a bravura performance of the breakneck coloratura of the \u201cBell Song\u201d in Act 2, receiving prolonged applause. Her dramatic portrayal of the character was also convincing.\u201d<\/p>\r\n\r\n\r\n\r\n

TT.com<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cOf course, from amongst the ensemble of soloists the role of Lakm\u00e9 stood out: the Japanese soprano Mari Moriya was very convincing, with the coloratura safely and artistically achieved.\u201d<\/p>\r\n\r\n\r\n\r\n

Neues Volksblatt<\/em><\/p>\r\n

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SOPHIE: DER ROSENKAVALIER \/ LANDESTHEATER LINZ<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201cMari Moriya impressed too as Sophie, who performed with lively conviction, yet provided the most delicate and secure head tones.\u201d<\/p>\r\n\r\n\r\n\r\n

O\u00f6\u00a0Nachrichten<\/em><\/p>\r\n

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\u00a0SOPHIE: DER ROSENKAVALIER \/ NEUES MUSIKTHEATER LINZ<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201c\u2026Mari Moriya was in top form, providing wonderful moments in even the most difficult moments, peformed with bell like clarity.\u201d The presentation of the silver rose \u2013 here a red one \u2013 was simply gorgeous.\u201d<\/p>\r\n\r\n\r\n\r\n

Nachrichten<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cThe young Japanese soprano Mari Moriya performed with an angelic voice and a delicious sense of humour.\u201d<\/p>\r\n\r\n\r\n\r\n

Der neue Merker<\/em><\/p>\r\n

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MARIA STUARDA \/ LANDESTHEATER LINZ<\/strong><\/p>\r\n\r\n\r\n\r\n

\u201cIn the title role Mari Moriya stood out with her soaring soprano\u2026\u201d<\/p>\r\n\r\n\r\n\r\n

Kleine Zeitung<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cMari Moriya exudes fine lustre and a tragically beautiful shine to the sound, bringing intensity and credibility to the final scene.\u201d<\/p>\r\n\r\n\r\n\r\n

Salzburger Nachrichten<\/em><\/p>\r\n

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ADINA: L\u2019ELISIR D\u2019AMORE \/ TULSA OPERA<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201cA bel canto opera, however, exists primarily to show off voices, and Tulsa Opera has assembled an fine cast, led by Gregory Schmidt as Nemorino and Mari Moriya as Adina. Both have voices well-suited to the bel canto repertoire \u2014 bright and clear, with sharp intonation and great flexibility. They sang with power and confidence regardless of register; low notes were clearly heard and the high notes just seemed to appear without apparent effort.\u201d<\/p>\r\n\r\n\r\n\r\n

TulsaWorld<\/p>\r\n

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ZERLINA: DON GIOVANNI \/ OPERA IRELAND<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201cThe production benefited from Cork-born soprano Cara O\u2019Sullivan as Donna Anna, Paolo Fanale as Don Ottavio and, most of all, Mari Moriya, whose strong singing as Zerlina suggested a terrific future as some of the gutsier bel canto heroines.\u201d<\/p>\r\n\r\n\r\n\r\n

Opera News<\/p>\r\n

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QUEEN OF THE NIGHT: DIE ZAUBERFL\u00d6TE \/ BALTIMORE SYMPHONY ORCHESTRA<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201cMari Moriya negotiated the treacherous vocal domain of the Queen of Night arias in intrepid fashion.\u201d<\/p>\r\n\r\n\r\n\r\n

BaltimoreSun<\/em><\/p>\r\n

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QUEEN OF THE NIGHT: DIE ZAUBERFL\u00d6TE \/ GLYNDEBOURNE ON TOUR<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201cFollowing her Metropolitan Opera debut in the role, Mari Moriya\u2019s Queen of the Night, brought a real sense of theatrical climax, her face the white mask of a savage geisha spitting fiendishly difficult arias\u2026\u201d<\/p>\r\n\r\n\r\n\r\n

Music OMH<\/em><\/p>\r\n\r\n\r\n\r\n

\u201c\u2026came into triumphant focus for her own trial by fire in Act 2.\u201d<\/p>\r\n\r\n\r\n\r\n

Opera<\/em><\/p>\r\n

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QUEEN OF THE NIGHT: DIE ZAUBERFL\u00d6TE \/ MANNES OPERA<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201cMari Moriya sang the Queen of the Night well, and with so much colour that one could envision her as, say, a Donizetti Queen.\u201d<\/p>\r\n\r\n\r\n\r\n

New York Times<\/em><\/p>\r\n

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QUEEN OF THE NIGHT: THE MAGIC FLUTE \/ SCOTTISH OPERA<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201c\u2026Mari Moriya nails the Queen of the Night\u2019s coloratura with pin-point accuracy.\u201d<\/p>\r\n\r\n\r\n\r\n

The Daily Telegraph<\/em><\/p>\r\n\r\n\r\n\r\n

\u201c\u2026the singing is mostly faultless, notably Mari Moriya\u2019s majestic Queen of the Night\u2026\u201d<\/p>\r\n\r\n\r\n\r\n

Daily Express<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cMari Moriya\u2019s Queen of the Night has presence\u2026\u201d<\/p>\r\n\r\n\r\n\r\n

Financial Times<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cMari Moriya\u2019s blinding Queen of Night will stop you in your tracks\u2026\u201d<\/p>\r\n\r\n\r\n\r\n

The Herald<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cThe Queen of the Night (Mari Moriya), swathed in silver paste and yards of blue-grey velvet, punched out her coloratura fiercely\u2026\u201d<\/p>\r\n\r\n\r\n\r\n

The Observer<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cMari Moriya\u2019s Queen of the Night had presence and joined-up coloratura\u2026\u201d<\/p>\r\n\r\n\r\n\r\n

Opera<\/em><\/p>\r\n\r\n\r\n\r\n

\u201c\u2026Mari Moriya\u2019s dark Queen sparkles both visually and vocally.\u201d<\/p>\r\n\r\n\r\n\r\n

The Scotsman<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cMari Moriya fires off pearly coloratura as the Queen of the Night\u2026\u201d<\/p>\r\n\r\n\r\n\r\n

Seven<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cMari Moriya\u2019s powerfully voiced Queen of Night does soar.\u201d<\/p>\r\n\r\n\r\n\r\n

The Stage<\/em><\/p>\r\n\r\n\r\n\r\n

\u201c\u2026feisty singing from the Japanese Queen of the Night, Mari Moriya\u2026\u201d<\/p>\r\n\r\n\r\n\r\n

The Sunday Times<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cThere\u2019s also room for the opera\u2019s Masonic imagery and for a truly eye-popping entrance by Mari Moriya\u2019s ice-blonde, pinpoint-accurate Queen of the Night \u2014 a human glitterball that is the pick of some terrifically inventive costumes.<\/p>\r\n\r\n\r\n\r\n

The Times<\/em><\/p>\r\n

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QUEEN OF THE NIGHT: DIE ZAUBERFL\u00d6TE \/ SEATTLE OPERA<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201c\u2026Mari Moriya as a marvellously psychotic Queen of the Night \u2013 those famous super-high notes in \u201cDer H\u00f6lle Rache\u201d accompanying a Katisha-like stroking of her neon-red dagger.\u201d<\/p>\r\n\r\n\r\n\r\n

The News Tribune<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cSince the Sunday afternoon performance took place on Mother\u2019s Day, it was ironic when you consider that the mother-figure in The Magic Flute\u00a0is the evil Queen of the Night. Fortunately, Mari Moriya was more than up to the task. She nailed every single stratospheric high note (they go up to an F above high C) right in the centre of the pitch. She also looked terrific in a dark gown that mirrored the starry sky.\u201d<\/p>\r\n\r\n\r\n\r\n

OregonMusic News<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cShe succeeded magnificently in the great aria of the Queen of Night achieving a force and power usually not compatible with the agility required for these stratospheric vocalisations .\u201d<\/p>\r\n\r\n\r\n\r\n

Res Musica<\/em><\/p>\r\n\r\n\r\n\r\n

\u201c\u2026achieved an aptly cold, cut-glass quality in the second half of her second aria.\u201d<\/p>\r\n\r\n\r\n\r\n

SeattleTimes<\/em><\/p>\r\n\r\n\r\n\r\n

\u201cSunday\u2019s ice queen\u00a0Mari Moriya<\/a>, miraculously pure and accurate in these high-flying moments, went into a sort of romantic reverie, chillingly, as if she were falling in twisted love with the very idea of vengeance.\u201d<\/p>\r\n\r\n\r\n\r\n

SeattleWeekly<\/em><\/p>\r\n

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BEETHOVEN: SYMPHONY NO. 9 \/ BRUCKNER ORCHESTRA LINZ<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201cThe pick of the solo quartet was soprano Mari Moriya.\u201d<\/p>\r\n\r\n\r\n\r\n

O\u00f6\u00a0Nachrichten<\/em><\/p>\r\n

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\u00a0FINAL \/ VERONICA DUNNE INTERNATIONAL VOCAL COMPETITION<\/strong><\/h3>\r\n\r\n\r\n\r\n

\u201c\u2026Moriya was an outstanding winner and well up to the high standard this event has achieved since 1985.\u201d<\/p>\r\n\r\n\r\n\r\n

Irish Post<\/em><\/p>\r\n\r\n

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Carmina Burana \/ Landestheater Linz \u201c\u2026\u00a0des Soprans\u00a0Mari Moriya\u00a0geh\u00f6ren zum besten, was bislang am Landestheater zu h\u00f6ren war \u2013 sei es beim scheinbar m\u00fchelosen Ansingen gegen das gro\u00dfe Orchester, sei es in wunderbar zart phrasierten und trotzdem tragf\u00e4higen, lange ausgesungenen Pianissimostellen \u2013 \u2026\u2026.. Weltklasse!\u201d Der Neue Merker \u201c\u2026und Mari Moriya mit ihrem Dauerg\u00e4nsehaut erzeugenden, klaren Sopran.\u201d … <\/p>\n","protected":false},"author":1,"featured_media":351,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-18","page","type-page","status-publish","has-post-thumbnail","hentry"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t