Soloist, Vaughan Williams Symphony No.3, Edinburgh International Festival, Usher Hall, 2018

"The lushness of string sound, appearing in swells and swathes, suited his writing well, with the wordless singing from off-stage mezzo soprano, Marjorie Maltais, a moment of particular resonance." 
Carol Main, The Scotsman
As Cherubino in I due Figaro, Toronto, 2018
"As Cherubino, Marjorie Maltais showed off the entirety of her expansive range while singing Mercadante's florid 
runs and adding her own ornamentation. She boasts a warm chest register and a clear top."
Matthew Timmermans, Opera Canada
"Outstanding was the Cherubino of Marjorie Maltais who comes across as a younger version of Elina Garanca."
Michael Johnson, ConcertoNet
As Soloist in St. Matthew Passion, Ottawa, 2017
"Mezzo Marjorie Maltais has a warm, consoling, voice with a richly elegant low register."
                             Natasha Gauthier, Artsfile
As Costanza in L'Isola disabitata, Voicebox: Opera in Concert, 2017
"Appearing as Costanza, singer actor Marjorie Maltais, confidently anchored this mid-winter Voicebox production with a deeply resonant performance, her rich, warm mezzo brimming with all the courage and desperation of a woman stretched to the ends of her wits. Her lustrous rendition of Haydn’s moving Ah che in van per me pietso (“All in vain time is flying”) instilled her solo with great dignity and grace."
Ian Ritchie, Opera Going Toronto

The Song Continues, Carnegie Hall, 2017

"Mezzo-soprano Marjorie Maltais also had the opportunity to perform two songs. She sang "Danse macabre" by Camille Saint-Saens with its difficult text by Henri Cazalis. The composer did an excellent job of applying music to the very wordy text and conveying the spooky mood. Mezzo Marjorie handled it beautifully, creating a mood of grotesquerie."

Meche Kroop,

Singing Stars of Tomorrow, 2016

"Mezzo-soprano Marjorie Maltais came out with guns blazing to open the show with a beautiful aria from La Cenerentola. Her ease with coloratura throughout her remarkable range is something that is a wonder to behold, and also something I'm glad I get to see develop. This young lady is going to take the world by storm."

Greg Finney,

"First up was mezzo Marjorie Maltais with Angelina’s Act 2 aria from La Cenerentola, Nacqui all’affanno.  This was classy.  It was accurate and expressive and the runs were handled well."

Opera Ramblings

Chamberfest Cleveland, 2016

"The first piece was Erich Korngold’s Four Shakespeare Songs (Op. 31), performed by mezzo-soprano Marjorie Maltais and pianist Roman Rabinovich…Maltais sang with clear diction, centered tone, and lots of dramatic expression. "

Nicholas Jones,


"Marjorie Maltais sang “Im Treibhaus” and “Träume” with a clear, beautiful tone, joining  an ensemble whose quietly nuanced playing of the chromatic writing resulted in the sound of a deep, dark “obsession.”… The delicate and enjoyable performance peaked with Maltais’ third utterance of “Träume,” which really sounded like a dream. "

Neil McCalmont,


As a Finalist in the COC Centre Stage Competition, 2015 

"...mezzo-Soprano Marjorie Maltais wowed us with a stunning La Cenerentola. Fiery eyes and a flashy dress had me enthralled. Add the fireworks of her remarkable coloratura, each triplet was solidly in tempo and had wonderful direction. I was sold. Brava.“

Greg Finney,


"Speaking of fire, Marjorie Maltais started with La cenerentola, and sang Gounod's ‘Que fais-tu, blanche tourterelle’ for the public round. Hers was some of the night's most polished, smart singing, with a gorgeous natural affinity for the Rossini.“

Jenna Douglas,


"To my ears, in addition to the lovely singing of Ms. D’Angelo, kudos to Marjorie Maltais’s for her fine ‘Non piu mesta.’ She also looked terrific onstage. Given the venerable BBC Cardiff Singer of the World has a ‘Frock Watch,’ why not the COC? For me, the gown of Ms. Maltais was stunning, the best of the evening."

Joseph So, Musical Toronto


"Mezzo Marjorie Maltais also kept the fireworks for the private audition: ‘Non piu mesta’, the final aria of Cenerentola. On stage, she sang ‘Que fais-tu, blanche tourterelle’ from Gounod’s R&J. It’s a sweet aria that has some dramatic variety and allows the singer to show off her French. What was most appealing about Maltais’ performance is that she was visibly free and playful with it. She was also showing nascent signs of that all-important thing in a singer, a style."

Definitely the Opera


"Of the also sang, my favourite was, you’ve guessed it, another mezzo. Marjorie Maltais sang two really difficult arias; ‘Non più mesta’ from La Cenerentola, which wasn’t perfect but was exciting, and a really idiomatic ‘Que fais-tu, blanche tourterelle?’ from Roméo et Juliette.  She would have been in my top three and I have to wonder if the judges just couldn’t see their way to a mezzo grand slam."

Opera Ramblings


As Angelina in La Cenerentola, Western University Opera, 2014 

“Marjorie Maltais (Angelina), innocent and beguiling, proved a fine actress who could soar through her high notes while also demonstrating darker and subtler tones during contemplative moments.”

Dawn Martens, Opera Canada


“Angelina, played by Marjorie Maltais, moves the room with her voice and wins the crowd over with her simplicity, kind heart and good intentions.”

Adriana Covic, The Western Gazette

As Carmen, Windsor Symphony, 2014 

“Carmen is the beautiful Marjorie Maltais, whose clear and commanding voice accompanied her theatrical performance well. Maltais’ rendition of ‘L’amour est un oiseau rebelle (Love is a rebel bird)’ was flawless. Her voice resonated throughout The Capitol, giving the impression of being seated in a first-class Parisian Opera House.”

Loren Mastracci, The Urbanite


As Hermia in Midsummer Night’s Dream, Opera on the Avalon, 2014 

“The opening-night Hermia and Helena (Marjorie Maltais and Clarissa Lyons) are strong interpretively and vocally, with the former having a gorgeous voice and the latter characterized by nice comic flair.”

Gordon Jones, The Telegram

As Dorabella in Così fan tutte, Western University Opera 

The other sister, Dorabella, played by Marjorie Maltais was another musical confection. Vocal lines were clearly defined with appropriate dynamics and when singing with Fiordiligi the balance and blend of these two voices was at times quite magical.”

The Beat Magazine