"Mary Feminear was a charming Semele, her luminous soprano full of longing and sensual promise, and her coloratura playfully coy in “Endless pleasure, endless love” and brilliantly pyrotechnical in “Myself I shall adore.” You actually felt sorry for her when she was incinerated at the end, rather than thinking her a nitwit who got what she deserved."
- THE WALL STREET JOURNAL
"...Mary Feminear in the title role, [of Semele...is] a standout singer and performer, delivering the no less than nine varied and difficult arias with aplomb and some remarkable vocal fireworks."
- BRIAN DICKIE
"Mary Feminear’s interpretation of Agnès was the standout performance...Her voice is rich and bright, and she made magic with her long notes, spinning them out, transforming them, turning them to gold. Her duet with the King was breathtaking – touched with real emotion... "
“The American soprano in residence at the Grand Théâtre de Genève offers the most moving moment of this evening with an extraordinary 'Batti, batti, o bel Masetto' imbued with an uncommon grace. The freshness of the tone, the diction, the theatrical intention, the musicality, the spirit, everything is present in these moments of true artistic emotion. In these few minutes of singing, Mary Feminear confirms the reasons that a spectator would go to the opera.”
"Mary Feminear...invested Charpentier's lines with pathos while observing Baroque musical manners."
- OPERA NEWS
"...the formidable Mary Feminear (irresistible as Amore) who displays production after production a talent more than promising."
- LE TEMPS
- THE SUNBREAK
“Mary Feminear showed versatility as Magdalene in her sorrowing and then in her transcendent joy.”
- THE NEW YORK TIMES
Berta, Mary Feminear, is sung with a rare ease and freshness. Her aria di sorbetto "Il vecchiotto cerca moglie" is delicious."