Press
Barbarina, Le nozze di Figaro, The Metropolitan Opera:
“As Barbarina, Maureen McKay showed a consistent, clear soprano and impressive soft notes at her top.”
--New York Classical Review (Eric C. Simpson)
“Similarly MaryAnn McCormick and Maureen McKay sang Marcellina and Barbarina respectively with humor, style, and vocal mastery."
--New York Arts.net (Michael Miller)
“As Barbarina, Maureen McKay was all sunshine during her initial scenes of Act three. But her famed Act four aria, “L’ho perduta” revealed her fragility, her singing soft and weepy; the final F natural decrescendoed into the final three notes, leaving the audience feeling her great grief.”
--OperaWire (David Salazar)
Pamina, Die Zauberflöte, Mostly Mozart Festival:
"Pamina, with whom Tamino falls in love, is here a Louise Brooks lookalike (the radiant soprano Maureen McKay, in a standout performance)."
--The New York Times (Anthony Tommasini)
"McKay’s “Ach, Ich fühl’s” was marvelous, the one moment in the performance where the singing surpassed the overall effect of the staging and exclusively captured the attention."
-- New York Classical Review (George Grella)
"Soprano Maureen McKay sang the piece with such elegant simplicity, an extension of the confident dignity and charm she brought to all Pamina’s music."
--Observer (James Jorden)
"McKay's voice took on a lighter complexion, which blossomed in the glorious “Ach, ich fühl’s” where Pamina is locked up in what looked like a snow globe, lamenting the loss of her lover. Here McKay’s voice soared beautifully, particularly in the G natural that opens the second phrase “Ewig hinder Liebe Glück,” which she plucked out of the air without any seeming difficulty (a lot of sopranos struggle here and with ensuing phrases that open in the passaggio). The runs to the high B flat were delivered with ease and a great sense of connectivity, all of it adding to an increasing sense of torment and pain. She gradually dimmed her voice in the aria’s latter sections, delivering a floating high B flat on “Liebe Sehen” followed by a subtle crescendo on a G natural on “Ruh'.” The entire aria was an incredible display of vocal artistry and emotional depth."
--OperaWire (David Salazar)
"Julien Behr shines as Tamino, making an especially appealing impression with his effortlessly smooth and gleaming tenor, while Maureen McKay with her lustrous soprano delivers an equally stand-out performance as Pamina."
-- Classical Source (Susan Stempleski)
Susanna, Le nozze di Figaro, Opera Colorado:
"She fascinated with her vocal and acting interpretation the soprano Maureen Mckay as Susanna, the great ovation that she took to the end was for her sympathy, musicality in her tone and scope."
"Fascinó con su interpretación vocal y actoral la soprano Maureen Mckay como Susanna, la gran ovación que se llevo al final fue por su simpatía, musicalidad en su tono y alcance."
--Una voce poco fa
Rose Maurrant, Street Scene, Virginia Opera:
“Operatic soprano Maureen McKay makes an expressive and natural Rose Maurrant. Her diction and rich middle register are the best of the cast, blooming over the swells of the orchestra during “What Good Would the Moon Be.” Her wistful reprise against a lamppost after a fight with her father is breathtaking.”
--WHRO
"In the 24 hours encompassed by the action, the key character is Rose (Maureen McKay), a young woman from the troubled Murrant family. McKay convincingly portrays Rose’s rapid and profound character arc as she expresses youthful dreams, considers the possibility of love with the boy next door, suffers sudden tragedy, and determines to follow her own path toward an uncertain future. Portraying change of this magnitude is a welcome challenge for any actor, and McKay meets the challenge. Her music, especially “What Good Would the Moon Be” and “Remember that I Care,” is sung with beauty and clarity."
--D.C. Metro
"Soprano Maureen McKay moves easily between musical theater and opera in a convincing portrayal of Rose Maurrant; she seems a natural for musical theater."
--OperaGene
"Maureen McKay played a captivating Rose Maurrant with her sparkly soprano flowing through arias and duets with ease."
--Washington Classical Review
"Gardner and Maureen McKay, as her daughter Rose, steal the vocal highlights. McKay’s lyric soprano duets with David Blalock, as the “nice” boy in her life, are filled with the lyrical ring of young, Broadway-style, love."
--The Virginian-Pilot
"Maureen McKay and David Blalock (portraying the would-be lovers Rose and Sam) are in beautiful voice and emote well for the duets “We’ll Go Away Together” and “Don’t Forget the Lilac Bush.”
--Fairfaxnews.com
"Maureen McKay’s Rose peaks with her gorgeous “What Good Would the Moon Be”. Together we see what kind of a couple they would make as they sing “Remember That I Care”, “We’ll Go Away Together”, and “Remember the Lilac Bush”.
--Paul Kuritz' Theater and Film Blog
Gretel, Hansel and Gretel, The Metropolitan Opera:
"She belongs at the Met; her Gretel danced confidently and sang increasingly well, especially in the upper register, up to the optional D.”
--Gay City News
Mabel, The Pirates of Penzance, San Diego Opera:
“Having witnessed soprano Maureen McKay’s luminescent Nanetta in last season’s SDO Falstaff, it was even more pleasurable to hear the full capabilities of her lyric coloratura in the role of Fredric’s heartthrob, Mabel. Though the difficulties of this character’s vocal pyrotechnics are often underestimated. McKay dazzled with her vocal beauty and dashed off the fioratura in true Beverly Sills fashion.”
--LA Opus
“But the stellar soloists made the evening, starting with Maureen McKay’s Mabel. Her buoyant lyric soprano generously filled Sullivan’s gentle ballad melodies, but when called to soar into the brilliant coloratura stratosphere, she did so with amazing power and apparent ease that did not compromise the beauty of her line one iota.”
--SanDiegoStory
“Frederic falls for the beautiful young Mabel (golden-voiced soprano Maureen McKay)…As his most assertive and amorous daughter, McKay displays a stunning coloratura, with luscious vocal leaps, and trills that thrill.”
--Times of San Diego
"As Frederick’s love interest, Mabel, Maureen McKay—terrific in both dramatic range and comedic effect—produces pitch-perfect trills."
--Stage and Cinema
“McKay displayed a lovely lyric voice and she skillfully executed the parodistic moments of coloratura which lampoon moments in Donizetti’s operas or in other works that were popular at the time.”
--Opera West
“Having attained percolated prominence from the earlier Falstaff, returning Maureen McKay pleasingly renditions as the swooning Mabel; however, her strength lies inside moments of softer musical equations. Thus, we have a most tender, melodic moment during the amorous repose, “Oh, here is love, here is truth” in concert with Mr. Whitney’s Frederic.”
--ConcertoNet
“He’s.. (Frederic) the perfect match for the effervescent Maureen McKay, the coloratura soprano who plays his lady love, Mabel.”
--SanDiegoUnionTribune
Zémire, Zémire et Azor, Saratoga Opera:
"Maureen McKay is a charming Zemire, the woman who sacrifices herself to live with a beast-like creature in order to save her father’s life. She shows the woman to be as humble as she is beautiful, and as kind as she is brave. It’s a delicate performance that is always true to the character. As for singing, the cliché she sings as lovely as a bird is proven true as her solo that captures the beauty of a bird in flight stops the show."
--The Record
"Zémire, played by soprano Maureen McKay, is a beauty indeed. She’s blond and petite with a mature luster and pleasing agility to her voice. Her arias are some of the score’s best moments and bring to mind Mozart."
--Times Union
"Soprano Maureen McKay as Zemire sang her many arias with eloquence."
--The Daily Gazette
"Soprano Maureen McKay was enchanting as Zémire, who seemed to have stepped out of a Fragonard painting in her sparkling gown of deep peach and flowing, strawberry blonde locks. Vain pleasures may not interest the girl, but she admits to Azor that she likes to sing. He bids her to do so, and she obliges him with vocal acrobatics that enchant the beast and human listeners alike in the coloratura display piece ‘La Fauvette’. Later, she melted hearts in ‘Azor, Azor! En vain ma voix t’appelle’, each call of the Beast’s name echoed by the plaintive call of the horn. Who wouldn’t fall in love with such a visage and such a voice?"
--Seen & Heard International
“As the heroine Zémire, soprano Maureen McKay was enchanting. Possessed of a natural grace, an infectiously beaming smile and a voice of unalloyed silver, McKay aced the challenge of achieving actual chemistry with the terrifying animated construct that was her principal stage partner for the lion’s share of the performance. And her negotiation of the florid hazards in the famous birdsong, “La fauvette,” was pure magic.”
--La Scena Musicale
“With a rich, expressive timbre, Maureen McKay was a charming Zémire; she sang beautifully…McKay is the rare opera singer who looks graceful dancing onstage next to professionals.”
--Opera News
Soloist, The Spanish Poems by David Chesky (recording):
"The three pieces on the current offering are sung in English by the talented Maureen McKay. Long melismatic lines fill The Girl from Guatemala to a text by Cuban poet José Marti (originally La Niña de Guatemala) while the orchestra sustains its catchy rhythms throughout. The sustained high note at the end, I believe a high C, is fearlessly tackled by the experienced opera singer Maureen McKay (a former member of the Seattle Young Artists Program and the Komische Oper, Berlin). Throughout her voice, which glistens marvelously, seems to offer the perfect blend of accuracy and flexibility.To McKay’s credit, she delivers the graceful curves of Chesky’s music impeccably; it would be so easy to swoop around, but one can track the melodic contours with ease and the intervals within them. Particularly noteworthy is McKay’s expert staccato in this song, as perfect as that of the woodwinds that provide this song’s particular character."
--Fanfare
"Played by Chesky's pick-up Orchestra of the 21st Century, they are sung in English by the versatile, technically triumphant soprano, Maureen McKay. Most sopranos, I expect, would run from this assignment. In fact, it took a consultation with Met conductor Fabio Luisi before Chesky could find an artist capable of performing his music faithfully, and with aplomb. Since the first song's heroine dies from love, Chesky commands McKay to commit virtual vocal hari kari in less than eight minutes. That the former member of Seattle Opera's Young Artist Program, who has since sung at the Met and been a resident artist at Komische Opera Berlin, manages to get through it with just a little sweat is a near-miracle. All the while, the orchestra sustains a dancing rhythm that features coloristic effects."
--Stereophile
Nannetta, Falstaff, San Diego Opera:
"Soprano Maureen McKay's much-anticipated Nannetta did not disappoint. Every note shimmered with luscious beauty, and her peppy physical comedy was a pleasure to watch. The stage positively glowed with her presence. The interactions between her and tenor Jonathan Johnson were precious few, but the duo delivered charmingly in their mutual vocal sonorities and the intensity of their love was so touching as to inspire one almost to believe in the ideal virtues of true love."
--BroadwayWorld.com
"Soprano Maureen McKay’s Nannetta was perfectly charming in every way, and she sang the long aria of the Queen of the Fairies enchantingly. I also loved her in the gorgeously repeated refrains of “Anzi rennova come fa la luna.” The whole Fenton/Nanetta exchange is engraved on my memory after all these years. Just enchanting!"
--Opera West
"Maureen McKay stands out for her purity of voice and control as Alice’s daughter, Nannetta."
--The San Diego Union-Tribune
"McKay, an alumna of the Seattle Opera’s Young Artist’s program and the ensemble of the Komische Oper, Berlin, was a radiant Nannetta."
--OperaWarhorses.com
"...and the lighter but equally fluid soprano of the young Maureen McKay as her love-struck daughter Nannetta proved an ideal match."
--SanDiegoStory.com
"For me, the female star of the evening was Maureen McKay, whose beautiful voice excelled in the rare lyrical music that Verdi wrote for the character of Nannetta."
--OperaBuffSandiego
"As Nanetta, soprano Maureen McKay sang with crystalline tones. She and the Fenton, sweet-toned tenor Jonathan Johnson, were perfect young lovers with all the energy youth implies."
--OperaToday
Susanna, Le nozze di Figaro, Lyric Opera of Kansas City:
“Maureen McKay, as Susanna, the quick-witted, fiery bride, challenged their schemes and bravado and jealousies. Her “Deh vieni, non tardar” was exquisite.”
--The Kansas City Star
Pamina, Die Zauberflöte, Portland Opera
"Maureen McKay (Pamina) was the most consistently fine singer, quite moving in the Act II lament."
--Opera News
"Shawn Mathey and Maureen McKay had tender chemistry as the lovers Tamino and Pamina, ingénues with supple voices."
--OregonLive
"Maureen McKay, who sang Gretel a few seasons back in Portland Opera’s Hansel and Gretel, is a bright and self-determined Pamina, a thoroughly modern millie of a heroine, appealing for her forthrightness and can-do attitude."
--Oregon Arts Watch
Mabel, The Pirates of Penzance, The Atlanta Opera:
“Atlanta native Maureen McKay likewise gives classics like “Poor Wandering One” an enchanting, lilting beauty.”
--The Atlanta Journal-Constitution
"Maureen McKay, negotiated Mabel’s music with a crystalline soprano, precision and charm."
--Opera News
Soloist, Messias, Danish National Symphony Orchestra:
On the women's side was the soprano Maureen McKay light and delectable
“På damesiden var sopranen Maureen McKay lys og liflig.”
--Kultur
Leila, Les pêcheurs de perles, Seattle Opera:
“A fully flesh-and-blood Leila, the heavenly soprano Maureen McKay had a purity of tone and vocal strength that hovered seemingly effortlessly, even in a number of top notes. Her attempt to seduce Zurga into mercy was spot-on.”
--Queen Anne & Magnolia News
“The shrewdest casting was Maureen McKay as Léïla, her soprano rich in timbre, with something worldly and knowing about it (I kept thinking of the saucy maid Adele in Die Fledermaus, for some reason), and not much of chaste innocence. From her first line, just because of that timbre, you knew Léïla wasn’t going to pan out as the virginal designated pray-er the villagers expected. (I could hear it; why couldn’t they?) Interestingly, McKay’s vocal technique in three florid passages betrayed her character’s real priorities...in her confrontation with Zurga begging him for mercy—her feminine wiles at full force—she nailed.”
--Seattle Weekly
“Maureen McKay, singing classically with clean trills and grace notes, seemed really to be the chaste priestess that Zurga and Nourabad wanted Léïla to be.”
-- Opera News
“Saturday’s opening-night cast was headed by baritone Brett Polegato (Zurga) and tenor John Tessier (Nadir), two buddies who get the opera’s best tune (the duet “Au fond du temple saint”) but are in love with the same woman (the celestial soprano Maureen McKay). Tessier’s lyrical, soaring tenor was an excellent match for the delicacy and purity of McKay’s Leila.”
--Seattle Times
Soloist, Love Came Down at Christmas by Jennifer Higdon (recording):
“The voices of Barton and McKay are particularly well suited for holiday music with their warmth, richness, and perfect pitch. In all, the ensemble and its conductor have created a holiday jewel.”
--Blog Critics
"Maureen McKay, currently singing the soprano lead in Seattle Opera's production of Bizet's The Pearl Fishers, floats tones angelically in Jennifer Higdon's Love Came Down. McKay and Barton collaborate to bring the cycle a lively close to with the ever-popular We Wish You a Merry Christmas."
--BroadwayWorld.com
"Plus, Maureen McKay's gorgeous soprano rings supreme on tracks like "Love Came Down."
--Crazytown Blog
“Jennifer Higdon’s “Love Came Down” is clear and beautiful as well and features McKay’s sweet, crystalline tone, floating above this contemplation of the true meaning of the season, in the many ways it’s celebrated.”
--Q Onstage
Pamina, Die Zauberflöte, Edinburgh International Festival/KOB:
“But it was that true love, Pamina, who was the bright shining star in what was anyway a truly stellar show. American soprano Maureen McKay- or should I say, the coquettish Ms. B.- sang with such purity, that even the forces of evil seemed stopped in their tracks. Amid all her trials and tribulations, with both humans and cartoons, her phrasing, her timing, her cadences, were perfect. It was a performance of rare beauty.”
--Scottish Daily Mail
Anne Trulove, The Rake’s Progress, Portland Opera:
“Soprano Maureen McKay was Anne Trulove to the life, singing beautifully with held high notes (on “goes” before and “art” in her cavatina, on the cabaletta-capping “heart,” on the goodbye to Tom) that, like her love, never wavered.”
--Opera News
“Anne Trulove (Maureen McKay) was a lyrical star in the Stravinskian diadem, her pianissimo high notes captivating at the end of the opera.”
--Oregon ArtsWatch
“As Anne Trulove, the steadfast country girl Tom abandons, Maureen McKay sang with a pure, strong soprano well suited to her role.”
--Oregon Live
Pamina, Die Zauberflöte, Opera Colorado:
“Soprano Maureen McKay is exceptional as his beloved Pamina. A singer with striking presence and highly disciplined vocal technique, McKay transfixes the eyes and ears throughout the production.”
--The Daily Camera
“There are other fine vocals, coming when it counts from Jonathan Boyd, as the protagonist Tamino, and Maureen McKay, as his beloved Pamina. Both sing with considerable warmth and they are paired well.”
--The Denver Post
Pamina, Die Zauberflöte, Komische Oper Berlin (2014 revival):
“Vocally the star of the show was Maureen McKay playing the demure Pamina the daughter of the Queen of the Night. Clothed in black and white to look ordinary McKay was highly assured, with a lovely creamy tone and impeccable diction, delivering just the right amount of expressive yearning for Tamino's affections.” --Seen and Heard International
Pamina, The Magic Flute, Washington National Opera:
“Pamina, Maureen McKay combined a charming stage presence with a soprano voice of sweet clarity and sincerity. McKay is the kind of opera singer who gives opera a good name these days - her acting is equal to her musical artistry.” --Broadway World.com
“Maureen McKay and her liquid-gold soprano voice proved a winning combination, combining to create a winsome and charming Pamina, Tamino's initially confused intended. Ms. McKay carried the role with a kind of girlish elegance.” --Communities Digital News
“luminous performance... McKay has a bright lyric soprano with gorgeous high notes and elegant pianissimo, and she's a good actress. Since Pamina is her WNO debut, I hope she'll return. When he (Joshua Hopkins) and McKay sang their first act duet about the virtues of love, I heard the vocal eloquence of two genuine Mozarteans.” --The Huffington Post
“Soprano Maureen McKay also commands attention as Pamina with her radiant tone and refined sculpting of her Act 2 aria.” --The Baltimore Sun
“Another standout was Maureen McKay as a Pamina in geometric blue dresses that evoked "Alice in Wonderland." Her soprano voice gained in warmth and flexibility as the evening continued.” --The Washington Post
“American soprano Maureen McKay, slight in stature but mighty in a voice full of romantic yearning, makes an appealing heroine.” --The Georgtowner
“Giving her Pamina some Dorothy-of-Oz cuteness and gumption, Maureen McKay sings with appealing sweetness and delicacy.” --Metro Weekly
“The first cast was strongest in the pairing of the noble lovers. Joseph Kaiser was an ardent and heroic Tamino, matched by the powerful and limpid soprano of Maureen McKay, whose rising career we have been following at Wolf Trap and elsewhere, as Pamina.” --Ionarts
“Maureen McKay's Pamina was charming, and she spun out 'Ach, ich fühl's' ('I'm a fool, a fool to trust him,' as sung here) with a truly melting tone.” --Opera Magazine
“Pamina was brought nicely to life by Maureen McKay, whose light, silvery soprano took on a shimmering, melting quality in her Act II aria.” --Opera News
Elisa, Il re pastore, Komische Oper Berlin:
“Verzierungen, die vor allem die Damen des Abends bestechend meistern - Maureen McKay leiht ihren glockenhellen lyrischen Sopran der Elisa, die den Aminta als Hirten.” --InfoRadio-RBB
Soloist, Mahler's Symphony No. 4, The Cleveland Orchestra:
“Likewise enchanting was the performance by soprano Maureen McKay in the symphony's final movement, a vision of heaven as perceived by a youth. More than just a bright, pretty voice, McKay also brought to her performance a keen sense of dramatic expression, singing as if she herself were enjoying the bliss of an afterlife filled with eating and dancing. Ultimately, thanks to Luisi and McKay, the night closed with an opening.” --The Plain Dealer
“McKay was an excellent soloist, inhabiting the child's voice as a character without resorting to parody. She captured the sense of wonder inherent in the old German folk-poem, singing about heaven as a place of endless plenty and dissolving into bliss at the end—straightforward, without irony. McKay's diction was clear without overemphasis, and her voice has a silvery quality that is ideal here.” --Seen and Heard International
Soloist, Mozart's Requiem, Komische Oper Berlin Orchestra:
“Maureen McKay sang mit weichem, warmem, tröstlich klingendem Sopran, überstrahlte besonders im Benedictus die Gesangskollegen.” --Der OpernFreund
“Innig, mit guter Phrasierung und zarten Spitzentönen gestaltet Maureen McKay den Sopranpart.” --Der Neue Merker
Pamina, Die Zauberflöte- Komische Oper Berlin:
* English translations by Susanne Quade
“Maureen McKay ist eine schier entwaffnend-liebreizende und mit ihrem glaskristallenen und schnörkellosen lyrischen Sopran geradezu perfekt besetzte Vorzeige-Pamina.”
--Kultur-Extra, das Online Magazin
* “Maureen McKay is disarmingly winsome and with her lyrical crystal-clear and unadorned soprano almost the downright perfectly-cast and exemplary Pamina.”
--Kultur-Extra, das Online Magazin
“Man muss sie alle ausnahmslos loben – allen voran Tamino (Peter Sonn) und Pamina (Maureen McKay). Er: ein sehr schnieker junger Bonvivant im Smoking mit gegeltem Haar. Sie: ein echter „Flapper“, der in den 20er Jahren sehr beliebte weibliche Leinwandtyp mit Bubikopf und Seidenkleidchen à la Louise Brooks. Sonn überzeugt mit seiner kraftvollen, herrlich geschmeidigen Tenorstimme stimmlich und darstellerisch ebenso wie seine Bühnenpartnerin, die noch in den höchsten Lagen ihrer schweren Arien mit einem hauchzarten pianissimo aufwartet.”
--RBB Kultur
* “They must all be praised without exception - especially Tamino (Peter Sonn) and Pamina (Maureen McKay). He: a young very handsome Bonvivant in tuxedo with gelled hair. She: a real "flapper,” a 1920's popular female type with a bob and a silk dress à la Louise Brooks. Sonn convinces vocally with his powerful, wonderfully supple tenor as well as his stage partner, who even in the highest positions of her difficult arias sings with a very delicate pianissimo.”
--RBB Kultur
“Maureen McKay brilliert als Pamina mit hauchzart tragfähigem Piano.”
--Die Deutsche Buhne
* “Maureen McKay shines as Pamina with a gauzy and stable piano.”
--Die Deutsche Buhne
“The young ensemble member Maureen McKay was a tender-voiced Pamina, a role she sang with an unadorned sweetness.”
--Opera News
“Viel verdienten Beifall gab es für Maureen McKay als Pamina. Sie verströmte stimmlich viel Herzenswärme.”
--BR Klassik
* “It was much deserved applause for Maureen McKay as Pamina. Vocally, she exuded a lot of heart-felt warmth.”
--BR Klassik
“Paminas warmer Sopran von Maureen McKay gibt gegen Ende der Aufführung den Zuhörern eine emotionale Brücke.”
--Opernnetz.de
* “Pamina's warm soprano, performed by Maureen McKay, provides the audience with an emotional bridge towards the end of the performance.”
--Opernnetz.de
“Maureen McKay was a charming Pamina, with especially plush singing in the first act.”
--MusicalAmerica.com
“Pamina (Maureen McKay hat äusserlich was von Louise Brooks) singt mit hellem, interessant timbriertem und in der Höhe apart aufblühendem Sopran.”
--Opera Aktuell
* “Pamina (Maureen McKay looking like Louise Brooks) sings with an interestingly bright soprano, that is rich in timbre and blossoms delightfully in the height.”
--Opera Aktuell
“Maureen McKay ist in Schöngesang und glockenreiner Intonation ihrer gespielten Mutter…”
--Neue Musik Zeitung
* “Maureen McKay - in her beautiful singing and bell-pure intonation is significantly superior to her mother…”
--Neue Musik Zeitung
“Als Maureen McKay ihre Pamina-Arie "Ach, ich fühl’s, es ist verschwunden" zu interpretieren beginnt, scheint sie sich gleichsam aus der Leinwand herauszulösen und auf das Publikum zuzugehen. Es ist einer der wenigen berührenden Momente an diesem Abend.”
--Berliner Morgenpost
* “When Maureen McKay begins to interpret Pamina's aria "Ah, I feel it, it's gone," she seems to detach herself from the screen and reaches out to the audience. It is one of the few touching moments of the evening.”
--Berliner Morgenpost
“…Pamina ist mit ebenfalls volltönendem Körper die Amerikanerin Maureen McKay, auch sie präsent und deutlich, auch sie vor allem da überzeugend, wo es nicht dem innigen Ton der Partitur ('Bei Männern welche Liebe fühlen') gilt; ihre Arie ('Ach, ich fühl‘s') gestaltet sie in schönem Bogen.”
--klassik.com
* “…Pamina, with her likewise full-sounding body, is the American Maureen McKay; she also is present and clear, convincing additionally aside from the more intimate tones of the score ('When men feel love'); her aria (‘Oh, I feel it') she designs in a nice bow.”
--klassik.com
“Maureen McKay singt und spielt dieses junge Mädchen bestens, macht stets Liebe, Furcht und Verzweiflung deutlich. Das „Ach, ich fühl’s, es ist verschwunden…“, als sie wegen Taminos Schweigen an seiner Liebe zweifelt und sich das Leben nehmen will, geht den Zuhörern spürbar zu Herzen.”
--Der Neue Merker
* “Maureen McKay sings and performs this young girl very well, always making fear, love and despair very clear. The aria "Oh, I can feel it, it's gone ...", as she doubts Tamino's love because of his silence and decides to end her life, goes directly to the audience’s heart.”
--Der Neue Merker
“Maureen McKay: Eigentlich hat sie alles, was eine Pamina braucht, nämlich eine bewegliche, aber hinreichend kräftige Sopranstimme mit exquisiter Süße in den Piani und eine sichere Präsenz im Spiel.”
--Capriccio Forum
* “Maureen McKay: Actually, she has everything that a Pamina needs, namely a mobile, but sufficiently powerful soprano voice with an exquisite sweetness in the piani and a reliable presence in her acting.”
--Capriccio Forum
“American soprano Maureen McKay (ex Seattle Opera young artist) was a well-matched Pamina who sang with great warmth and convincing innocence.”
--Opera L forum
“…und Maureen McKay war auch eine tolle Pamina, die haben auch wahnsinnig gut gespielt.”
--Deutschlandfunk Radio.de
* “…and Maureen McKay also a great Pamina, who acted incredibly well. "
--Deutschlandfunk Radio.de
Gretel, Hänsel und Gretel - Komische Oper Berlin
* English translations by Susanne Quade
“Maureen McKay hat die ideale Gretelstimme. In der Höhe strahlend mit voller Mittellage singt sie mühelos und spielt dabei mit leichtfüßigem Verve. Die Tanzeinlagen mit ihrem Hänsel zu Beginn des Stückes sind cool und witzig zugleich…Beide Sängerinnen harmonieren stark miteinander und tragen mit Noblesse und Qualität die Aufführung. Der ganz im Piano beginnende Abendsegen gehört musikalisch so auch zu den Höhepunkten.”
--Der Neue Merker
* “Maureen McKay has the ideal voice for performing Gretel. The high notes she sings brilliantly and effortlessly with a full voice in mid-range, acting with a light-footed verve. Her dance moves with Hansel at the beginning of the opera are cool and funny at the same time…Both singers harmonize strongly with each other and contribute greatly to the performance with refinement and quality. The “Abendsegen” beginning very piano is among the highlights musically.”
--Der Neue Merker
“Die Hauptpartituren sind mit den Mezzosopranistinnen Theresa Kronthaler (der verstandesorientierte Hänsel) und Maureen McKay (die gefühlsbetonte Gretel) herausragend besetzt. Charmant, frech und stimmgewaltig ergänzen sie sich perfekt als gut aufeinander abgestimmtes Geschwisterduo.”
--RBB Kultur
* “The main scores are outstandingly casted with the mezzo Theresa Kronthaler (the intellectually oriented Hansel) and the soprano Maureen McKay (the emotional Gretel). Charming, sassy and powerfully-voiced they complement each other perfectly as a well-matched sibling duet.”
--RBB Kultur
“Einen feinen, klaren Mädchensopran hat Maureen McKay für die Gretel, die auch durch ihr anmutiges Spiel gewinnt.”
--Der Opernfreund
* “A fine, clear girly soprano offers Maureen McKay for the role of Gretel, which is further enhanced by her graceful acting.”
--Der Opernfreund
“Theresa Kronthaler (Hänsel) und Maureen McKay (Gretel) erweisen sich als Idealbesetzung.”
--Vorarlberger Nachrichten
* “Theresa Kronthaler (Hansel) and Maureen McKay (Gretel) are proving to be the ideal cast.”
--Vorarlberger Nachrichten
“Sängerisch ist sie auf hohem Niveau, Theresa Kronthaler und Maureen McKay singen das Geschwisterpaar so temperamentvoll wie klangschön.”
--Berliner Zeitung
* “Vocally it is at a high level, Theresa Kronthaler and Maureen McKay sing the siblings as lively as a beautifully sounding.”
--Berliner Zeitung
“Theresa Kronthaler und Maureen McKay bewegen sich als Hänsel und Gretel mühelos zwischen pseudonaivem Volksliedton und großer musikalischer Geste.”
--Deutschlandradio Kultur
* “Theresa Kronthaler and Maureen McKay move as Hansel and Gretel effortlessly between pseudo-naive folk-song and great musical gesture.”
--Deutschlandradio Kultur
“Therese Kronthaler (Hänsel) und Maureen McKay (Gretel) den Abendsegen mit lieblicher und unschuldiger Reinheit singen.”
--Klassische Vokal-Musik - Suite 101
* “Therese Kronthaler (Hansel) and Maureen McKay (Gretel), sang the “Abendsegen” in a sweet and innocent purity.”
--Klassische Vokal-Musik - Suite 101
“Maureen McKay als Gretel und Karolina Gumos als Hänsel ergänzten sich prächtig und ließen die Töne fließen, dass es eine Lust war.”
--Nacht-gedanken
“Per ciò che concerne il cast, benissimo Karolina Gumos (Hänsel) e Maureen McKay (una Gretel deliziosa e particolarmente incisiva nel secondo atto).”
--Solo Sapere
Lisa, La Sonnambula- Washington Concert Opera
"As Lisa, who keeps the local inn and has designs on Elvino herself, the soprano Maureen McKay showed considerable coloratura chops."
—Washington Post
"Equally good…the pouty, spiteful Lisa of Maureen McKay, a silver-toned voice that darted and sparkled."
—Ionarts
"As Lisa, Ms. McKay proved more delightful than malevolent as Bellini's designated villain. She really has nothing against Amina other than the fact that she herself wanted to marry Elvino. Ms. McKay vocally alternates an almost syrupy charm when she's pleased with herself, and an almost adolescent petulance when things go the other way. We recall her fine performance as Johanna in Wolf Trap Opera's Sweeney Todd some time back, and it's clear that she has continued to grow as a fine young artist whose career is now well on its way."
—Washington Times
"Ms. McKay entered in flowing green silk, but it was her crystal soprano and superb acting and comic acting that really made her shine. Ms. McKay got her chance to show off and strut her stuff in Lisa's aria."
—Opera-L Forum
Laurey, Oklahoma!- Central City Opera
"Soprano Maureen McKay as the heroine Laurey Williams presents an extraordinarily sympathetic and attractive character. McKay is beautiful and profound, both in her own numbers, such as "Many a New Day," where she must engage in intricate stage business while carrying a difficult song, and in the familiar and beloved duet "People Will Say We're in Love.""
—Daily Camera
"Worth was aptly paired with Maureen McKay as Laurey. With a buoyant, natural singing style, this fresh-faced soprano looked and sounded the part, capturing both her sassiness and her vulnerability. Ably backed by conductor Christopher Zemliauskas, Worth and McKay and the rest of the superbly chosen cast set aside opera-house manners and threw themselves into the spirit of Oklahoma!"
—Opera News
"As a musical, Oklahoma! is less demanding in the high ranges than most operas, but McKay makes the most of the few opportunities, her soprano effortlessly producing fireworks, solo or in some sparkling duets with Worth. Their repartee and the push-pull of their attraction in "Surrey with the Fringe on Top" is undyingly sweet."
—Colorado Drama
"Director Ken Cazan took his cast and the show over the top. His singing actors fully-inhabited their iconic roles. Matthew Worth (Curly) and Maureen McKay (Laurey) naturally rendered the voices and countenance of their characters."
—Colorado Springs.com
"The main characters Curley and Laurey are played by the incredibly talented and powerful baritone Matthew Worth and soprano Maureen McKay, whose voices seem to carry to the back of the room without need of amplification."
—Colorado Gaming News.com
Blanche de la Force, Dialogues des carmélites- Komische Oper Berlin
* English translations by Susanne Quade
"Blanche, die Hauptfigur der Oper, ist mit der jungen Maureen McKay in idealer Weise besetzt. Ihr schöner, gut geführter und nuancenreicher Sopran ist ebenso zu loben wie ihre überzeugende Darstellung. Ganz gleich, ob sie Angstanfälle erleidet oder auch mal heitere Momente hat – sie wirkt stets glaubwürdig. Staunenswert ist auch, wie sie zwischen dem Eisengestell herumturnt, das in den meisten Szenen die gesamte Bühne bis unter die Decke füllt (von Rebecca Ringst). Es sind die 4-stöckig übereinander getürmten Bettgestelle der Karmelitinnen. Ein beklemmendes Bild, das wohl mit voller Absicht den Eindruck eines Gefängnisses vermittelt."
—Der Opern Freund- Kritiken der Wiener Staatsoper
* "Blanche, the main character in the opera, was cast ideally with the young Maureen McKay. Her beautiful, well-conducted soprano full of nuances can be praised as well as her convincing acting. Whether she suffers from panic attacks or has cheerful moments as well – she always appears credible. Also amazing is her climbing of the iron framework (by Rebecca Ringst) that covers the whole stage up to the ceiling in most scenes. It is made of the Carmelite's four-storied bed frames. An oppressive image which surely intents to convey the image of a prison."
—Der Opern Freund- Kritiken der Wiener Staatsoper
"Maureen McKay spielt das ganz eindrücklich und übermittelt auch stimmlich die Grenzsituation zwischen dem Ertragen und ihrem Überwältigtsein von Angst."
—Online Musik Magazin
* "Maureen McKay performs impressively in this role and vocally conveys the borderline situation between enduring and being overwhelmed with fear."
—Online Musik Magazin
"The singers were drawn mostly from the house's ensemble, with one of the company's recent acquisitions, the young soprano and NYCO veteran Maureen McKay, starring as Blanche de La Force. McKay made an excellent impression as Marzelline in last season's premiere of the 1805 version of Fidelio. Her Blanche had the aspect of a hunted animal, a directorial choice at odds with the fuller dramatic and vocal range that McKay displayed. What came across most forcefully was her character's vulnerability and conviction, qualities easily transmitted by a bright, young voice."
—Opera News
"Finally, Maureen McKay's Blanche is absolutely wonderful. She is a living proof of what I keep saying about American singers: they need to come to Europe, to escape the talentless American directors (for the most part!) and explore more their acting talents. In this production she could show the best of her voice, but also the best of her acting. She literally inhabited Blanche de la Force for those 3 hours and brought a mesmerizing portrayal of this character that must have moved Calixto himself. A fantastic girl who I hope we will see more often on the big opera scenes. Brava Maureen! Bravi Tutti!"
—Opera Cake
"Maureen McKay formt die Blanche in ihrer Angstgetriebenheit vom Sängerischen wie Darstellerischen her gleichermaßen überzeugend."
—Berliner Zeitung
* "Maureen McKay forms Blanche as fear-driven – convincing with her voice vas well as with her acting."
—Berliner Zeitung
"In der tragenden Partie der Blanche de la Force wartet Maureen McKay mit einem präsenten, lyrischen Sopran auf, der sich auch in der Höhe gut entfaltet. Dazu kommt, dass die Sängerin sich darstellerisch engagiert und verausgabt, da gibt es keine Minute, wo es Maureen McKay an der gebotenen Intensität mangeln liesse."
—Capriccio forum
* "As the main character Blanche de la Force, Maureen McKay pushes forward with a present, lyrical soprano that also unfolds well in the high notes. In addition, the singer engages in her acting and wears herself out; there is not one minute in which Maureen McKay shows a lack of the necessary intensity."
—Capriccio forum
"Es ist eine Oper der Frauenstimmen, und am gestrigen Abend eine der wunderbaren. Maureen Mc Kay in der Hauptrolle der Blanche - leidenschaftlich, mit einem selbst in den angsterfülltesten Ausbrüchen noch tragenden, ausdrucksvollen Klang."
—Deutschlandfunk
* "It is an opera of women's voices - and a wonderful one at that yesterday evening. Maureen McKay in the leading role as Blanche – passionate, with a sound that even carries through terrified outbursts."
—Deutschlandfunk
"Maureen McKay singt die Rolle mit zitternder Inbrunst."
—Berliner Morgenpost
* "Maureen McKay sings this role with trembling fervor."
—Berliner Morgenpost
"Maureen McKay überzeugt als Blanche mit glutvollen Glaubenszweifel-Kantilenen."
—Dreh Punkt Kultur
* "Maureen McKay convinces as Blanche with passionate cantilenas full of religious doubt."
—Dreh Punkt Kultur
"Maureen McKay ist eine exzellent intonierende Blanche."
—Kultiversum
* "Maureen McKay is an excellent intonating Blanche."
—Kultiversum
"Zauberhaft in Gesang und Spiel ist Maureen McKay als Blanche: sexy in ihrer geistigen Verwirrtheit, schlägt sich Blanche ihren Kopf an den Stangen des Bettes blutig und klettert später, in der rampenparallelen Bettenfront, die hier für ihr verlassenes Vaterhaus steht, ziellos herum."
—Neue Musikzeitung
* "Enchanting in voice and play is Maureen McKay as Blanche: sexy in her mental confusion, Blanche hits her head bloody at the bed rail. Later, she aimlessly climbs around in the bed front parallel to the ramp which stands for her abandoned father's house."
—Neue Musikzeitung
"Dabei verleiht Maureen McKay der Protagonistin Blanche, die gequält wird von Panikattacken und Männern, ein bezwingendes Profil, wie auch die übrigen Solistinnen hoch gefordert sind."
—Financialtimes Deutschland
* "At the same time Maureen McKay gives the female protagonist Blanche, who is tortured by panic attacks and men, a compelling profile. A lot is expected from her and the other soloists."
—Financial Times Deutschland
Gretel, Hansel and Gretel- Portland Opera
"Most crucial, the cast was dynamite. One knew in advance that the show had two lovely leads in Sandra Piques Eddy and Maureen McKay, and one listened and watched in awe as they sang, danced and played the siblings with style, color and panache. McKay's soprano was more slender, but her singing was infused with vivacious personality and didn't seem to suffer from her running all over the stage. In Gretel's most florid music, when she imitates the morning lark, McKay ran in place while warbling "tirelireli" and twirled on the high D."
—Opera News
"This production could have been overwhelmed by these inventive and evocative sets were it not for superb performances of the singers. Maureen McKay's Gretel was also totally convincing, and together (Sandra Piques Eddy) they had a great time sticking out their tongues at each other, running around with arms akimbo, and strutting up a kooky, over-the-top improvisational dance after outsmarting the Witch. In the vocal department, both singers topped the charts with gorgeous, resonant voices that still conveyed the just the right amount of naïveté for their characters. Their Angel's Prayer duet was heavenly and came across as a personal statement that went to the heart."
—Oregon Music News
"Sandra Piques Eddy and Maureen McKay (Hansel and Gretel, respectively) are both excellent, convincingly playing energetic and careless children while maintaining the operatic power necessary to hit the back rows of the vast Keller Auditorium."
—The Portland Mercury
"McKay and Eddy were fresh and sweet-voiced throughout."
—The Oregonian
Marzelline, Fidelio (1805), Komische Oper Berlin
* English translations by Susanne Quade
"Maureen McKay, a young American soprano (and NYCO veteran) who joined the KOB ensemble this season, made a wonderful impression as Marzelline. She sang with accuracy and agile phrasing, nowhere more so than in the reverent Act I quartet "Mir ist so wunderbar."
—Opera News
Maureen McKay, Marzelline und Christoph Späth, Jacquino, gaben den Figuren der realen Welt eine immer wieder neu gefundene, im Vokalen glaubhaft gemachte Tiefe und Tranzendez."
—Neues Deutschland
* "Maureen McKay, Marzelline and Christoph Späth, Jacquino, gave the characters of the real world an always new-found, vocally convincing depth and transcendence."
—Neues Deutschland
"…eine stimmlich wie darstellerisch anrührende Marzelline von Maureen McKay…"
—Deutschlandfunk
* "….a Marzelline sung and acted movingly by Maureen McKay…"
—Deutschlandfunk
"Die anderen bleiben und erleben ein fulminant und souverän agierendes Ensemble, aus dem darstellerisch die Marzelline der Maureen McKay herausragt …"
—Berliner Zeitung
* "…Maureen McKay's Marzelline stands out because of her acting qualities."
—Berliner Zeitung
"…. um sie herum turnt schwärmend Marzelline (lyrisch einprägsam: Maureen McKay) und trägt ihren geliebten Fidelio als Garderobenständer durch den Abfall wie eine sehr private Wunschprojektion."
—Frankfurter Rundschau
* "… around them dances Marzelline enthusiastically (lyrically memorable: Maureen McKay) and carries her beloved Fidelio as a coat rack through the waste like a very private projection of her desires."
---Frankfurter Rundschau
"Doch eine Überraschung waren Maureen McKay (Marzelline) und Christoph Späth (Jaquino) mit ihrem tonschönen, leichtfüßigen und präzise artikulierten Singen."
—Frankfurter Allgemeine Zeitung
* "However, a surprise were Maureen McKay (Marzelline) and Christoph Späth (Jaquino) with their melodious, light-footed and precisely articulated singing."
—Frankfurter Allgemeine Zeitung
"Eine Entdeckung ist die Marzelline von Maureen McKay, mit klaren sopran von schöner substanz gefällt."
—Bernd Hoppe
* "A discovery is Maureen McKay's Marzelline with a clear soprano of a beautiful substance."
—Bernd Hoppe
"Maureen McKay, die seit dieser Spielzeit zum Ensemble gehört, singt ihre Marzelline mit lyrisch dramatischem Sopran, gut eingeblendet in die Ensembles, kernig und abgegrenzt gegenüber Jaquino."
—Der Opernfreund
* "Maureen McKay, who has been in the ensemble since the beginning of this season, sings her Marzelline with a lyrically dramatic soprano, well integrated into the ensembles, pithy and marked out against Jaquino."
—Der Opernfreund
"Doch an der Peripherie tut sich Erfrischendes:… und vor allem bei Maureen McKays agiler, herzlich-schnodderiger Marzelline."
—Märkische Allgemeine
* "However, there is refreshing action at the periphery:… and especially in Maureen McKay's Marzelline who is agile and charmingly brash."
—Märkische Allgemeine
Eurydice, Orphée et Eurydice- Opera Company of Philadelphia
"McKay as the doomed wife shows many facets of Eurydice's character in a soprano that is brilliant and can soar."
—WordPress.com
"Maureen McKay sang almost effortlessly as Eurydice and was dramatically riveting while pleading with Orphée to look at her during their fateful journey out of the underworld."
—Philadelphia Inquirer
"The Eurydice, Maureen McKay, sang with lovely tone, and she made a gracious picture as an Eurydice worth going to hell to bring back alive."
—Opera-L Forum
"Maureen McKay was beautiful in voice and appearance as Eurydice."
—Broad Street Review
Elisa, Il re pastore- Opera Theatre of Saint Louis
"My favorable impression of Maureen McKay in last summer's Una Cosa Rara was here confirmed with a securely sung Elisa, a maid who briefly enjoys enacting the longings of a noblewoman. Miss McKay is capable of regaling us with accurate cascades of fioritura, likewise deploying her crystal clear tone in melting legato phrases. Her spunky stage savvy is equally bewitching."
—Opera Today
"Maureen McKay's Elisa was a delight, singing with a creamy voice, easy production and unstrained high range and coloratura."
—St. Louis Post Dispatch
“Elisa, soprano Maureen McKay, was a joy. Her voice is beautifully produced throughout the range; her stage persona is charming.”
--MusicalAmerica.com
Musetta, La bohéme- Opera Omaha
"Soprano Maureen McKay (Musetta) revealed a bright and sweetly lyrical voice."
—Omaha World Herald
Gretel, Hansel and Gretel - Tulsa Opera
"Maureen McKay as Gretel and Blythe Gaissert as Hansel believably embodied a couple of rambunctious children, scampering about the stage with enviable energy. They also have voices that easily cut through the often thick orchestration of Humperdinck's score, and that blend beautifully in the duets. McKay's performance of Gretel's song at the opening of Act II, where she happily greets the dawn after the night in the forest, was just about perfect — full of wonder and happiness, warmth and brightness."
—Tulsa World
Zerlina, Don Giovanni - New Orleans Opera
"Maureen McKay's clear, transparent soprano was a delight, from her early duet with Don Giovanni through a smooth and winsome "Batti, batti," to "Vedrai, Carino." McKay's voice is even from top to bottom, with a crystalline tone that is irresistible alone but also blends well in ensembles."
—St. Bernard Voice
"Maureen McKay, a lovely, fresh-voiced Zerlina, was a notable asset to the ensemble."
—Opera News
"Maureen McKay's was a perky, sweet-voiced Zerlina."
—The Times Picayune
Susanna, Le nozze di Figaro - Opera Cleveland
"Maureen McKay's spunky Susanna is a delight, ever attentive to phrasing and gesture."
—Plain Dealer Reporter
"Maureen McKay is just about ideal as the maid Susanna: sprightly and intelligent, with an unaffected sensuality and a sparkling soprano voice."
—Jerome Crossley
WCLV classical FM
"Hardy and Maureen McKay — a Susanna with a clear voice and pert, disarming charm — made a dynamic, winning pair."
—Opera News
Lilla, Una Cosa Rara - Opera Theatre of Saint Louis:
"Soprano Maureen McKay was absolutely delightful as the ingenuous shepherdess Lilla, and had the audience in stitches from her first entrance, running frantically onto stage and literally throwing herself at the Queen's feet. McKay has a lovely clear voice, and her perfect acting really helped make the production."
—Opera Today
"Soprano Maureen McKay, as Lilla, was ideal for her role: cute, "relatively" smart, clear of voice and intent."
—St. Louis Post-Dispatch
"Maureen McKay turned in quite a spunky performance as Lilla. She lavished beautiful phrasing on her lovely (and blessedly still) second act aria, which could have been written for Susanna in "Figaro."
—Opera Today
"Foremost among the eight featured vocalists are Keith Phares and Maureen McKay as shepherd and shepherdess Lubino and Lilla, whose impending nuptials the rest of the cast is intent on preventing. They sing admirably separately and beautifully together."
—Riverfront Times
"Of the singers, only the bright-voiced soprano Maureen McKay, as the shepherdess heroine Lilla, really made a case for why this rare thing deserved any notice at all."
—Wall Street Journal
Soprano Soloist, An Afternoon in Vienna - Saint Louis Symphony:
"The guest soloist was charming, too. Soprano Maureen McKay, who just starred as Lilla in Opera Theatre of St. Louis' production of "Una Cosa Rara," sang the "Vilja-Lied" from Lehar's "The Merry Widow" and Strauss' "Frühlingsstimmen (Voices of Spring)," both in German. Her bright, silvery voice soared above them prettily in the high passages. "Voices," in particular, proved a huge hit with the audience."
—St. Louis Post-Dispatch
Soprano Soloist, Carmina Burana - Utah Symphony:
"McKay was equally charming in her shorter appearance; her sweetly lyric delivery of "In trutina" was one of the evening's highlights."
—The Salt Lake Tribune
Norina, Don Pasquale - Anchorage Opera:
"She gives the waiter a wink, and he rips up her check with a shrug, helpless against her charms. It is not flattery to say McKay is positively irresistible. Abreu's elegant duet with McKay was incredibly sincere and honest, and it successfully nestled a poignant heartstring-tugger in the midst of a comic three-ring circus. When he was tackling his higher range and she was in her lower, their blending was achingly beautiful."
—Anchorage Daily News
Pamina, Die Zauberflöte - Lyric Opera of Kansas City:
"Boyd and McKay make an attractive couple and sing their parts with accomplishment."
—AnE Vibe
Lightfoot McLendon, Cold Sassy Tree - Atlanta Opera:
"Maureen McKay made a charming Lightfoot McLendon: her exchanges with Will were natural and engaging."
—Opera News
Gretel, Hänsel und Gretel - Opera Company of Philadelphia:
"Maureen McKay (Gretel) and Lauren Curnow (Hänsel) were both in possession of strong, youthful voices. More impressive, they blended their sounds beautifully."
—Philadelphia Inquirer
"The lively titular duo blended their sopranos well….Maureen McKay's visually ideal Gretel an easy-sounding top (up to D) and clearer German diction."
—Opera UK
Caroline Gaines, Margaret Garner - New York City Opera:
"Another notable performance was given by Maureen McKay who seemed to embody the perky and radical Caroline Gaines, daughter of the slave owner Edward Gaines."
—Opera Today
Papagena, Die Zauberflöte - Los Angeles Philharmonic:
"Maureen McKay proved a lusty Papagena."
—Los Angeles Times
Soprano Soloist, Shema - Music of Remembrance:
"Soprano Maureen McKay was brilliantly expressive in Simon Sargon's "Shema" composed to Primo Levi poems."
—Seattle Times
"The vocal part was brilliantly delivered by Maureen McKay, a recent graduate of the Seattle Opera's Young Artists Program. She seems to be headed for a considerable career: clarity of diction and line and powerful emotional commitment were rendered all the more compelling for her ability just to stand there and sing, with none of the distracting mannerisms that undermine the work of too many singers."
—Bernard Jacobson
Despina, Così fan tutte - New York City Opera:
"Despina is sung by Maureen McKay: small, energetic, fleet of foot and our very image of the part."
—The New York Times
"Maureen McKay conveys all of Despina's cynicism and sass."
—Newsday
"The smart Despina was Maureen McKay, in another successful NYCO debut."
—Opera News
"Maureen McKay sang a perky, unexaggerated Despina."
—Classics Today.com
"The most delightful performance belonged to Maureen McKay, who sang the maid Despina. McKay is the kind of feisty and assured performer who can take an opera cliché and make it fresh and sensual. Her Despina was fresh, sassy and vocally compelling."
—Columbia Spectator
Susanna, Le nozze di Figaro - Wolf Trap Opera Company:
"But the undisputed star of the show was the young soprano Maureen McKay, playing the willful and wily Susanna. Armed with a silvery, precisely aimed voice, natural stage presence and the kind of beautifully detailed acting you don´t see often enough on the operatic stage, McKay turned in a smart, sexy and thoroughly charming performance."
—The Washington Post
"Soprano Maureen McKay is a sprightly and winning Susanna. Her youthful voice, while light in texture, delivers plenty of volume. She´s a whirling dervish of energy dominating even the Filene Center´s massive outdoor stage."
—The Washington Times
Carmina Burana, The National Symphony Orchestra:
"...soprano Maureen McKay's voice was captivating and subtle..."
—The Washingon Post
Susanna, Le nozze di Figaro, Seattle Opera Young Artist Program:
"...Maureen McKay shone as Susanna... McKay´s warm, agile soprano and pert spunk were totally satisfactory."
—Seattle Post-Intellegencer
"Not only was Maureen McKay properly feisty, courageous and manipulative as Susanna, but she also has one of the warmest, most lyrical sopranos I have heard."
—Queen Anne News