Reviews
Turandot
December 2, 2007 Sunday Tribune
“Mari Moriya, winner of this year's Veronica Dunne Competition, as the servant girl Liu, who absolutely stole this show.
Her first aria, 'Signore, ascolta', 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. She is a born Puccini soprano, such is the demure effortlessness with which she conquers the highest registers.” – By Karen Dervan
November 24, 2007 Irish Examiner
“In her big ActⅠand Act Ⅱarias, Japanese soprano Mari Moriya demonstrated the kind of warmth, sweetness, strength and control which saw her make her New York Met debut as the Queen of the Night with James Levine last year.” – By Michael Dungan
November 21, 2007 Metro
“The sweetness of Mari Moriya’s voice as Liu is a gorgeous and appropriate contrast to Stefania Spaggiari’s stern Turandot.” – By Lucy White
Culturevulture.net
The showstealing turn comes from Moriya, who gained a rather embarrassing lion’s share of the audible plaudits at the end at Spaggiari’s expense. Though her character is more sympathetic and the music more delicate as befits the role, if truth be told her rendering is also beautifully melodic, subtle, and touching. Her acting performance is also more naturalistic and very believable, and this comes, again, in the face of a passionate Calaf and a Turandot who looks like she’s out to get Flash Gordon and bite him. – By Harvey O'Brien
L’opera
“Curiosa coincidenza che uno degli elementi di spiccodella produzione sia stata proprio la Liu interpretata dalla giovane cantante giapponese Mari Moriya, salutata dal trionfo tributatole dal pubblico che affollava la 《prima》. La sua interpretazione, impreziosita da un bel timbro lirico e da un’emissione sicuram ha regalato al personaggio maggiore una dolcezza ancora maggiore, in contrapposizione al personaggion della gelida principessa.”
Verdi Square Festival of the Arts
September 11, 2007 New York Times
““Caro nome” from Verdi’s “Rigoletto,” sung by Mari Moriya, a young soprano with a clear, sweet voice who was a last-minute substitute for an indisposed singer” – By ANTHONY TOMMASINI
BBC Cardiff Singer of the World Concert 4
Jun 15 2007 icWales
“Japanese soprano Mari Moriya delighted the St David’s Hall audience with a thrilling performance of coloratura favourites – and wont he round.
Her programme started with Bellini’s Qui la voce sua soave, better known as Elvira’s mad scene, from Bellini’s I Puritani.
Have giving a thrilling performance her Caro nome from Verdi’s Rigoletto was an absolute delight with that amazing firework display that is the Queen of the Night’s Der Holle Rache aria from Mozart’s Die Zauberflote completing a highly entertaining set.”
Rosenblatt Recital Song Prize - Concert 3
Jun 13 2007 icWales
“Elegant to look at and elegantly voiced Japanese soprano Mari Moriya, was accompanied by Simon Lepper and a rapport was clear to see.
Her programme consisted of four beautifully sung Debussy songs, Pantomime, Clair de Lune, Pierrot and Apparition which enabled her to show contrasting emotions while allowing her to demonstrate generally good control and great potential for this delightful type of young voice.
She completed her programme with two Richard Strauss again pleasant and with promise.”
Veronica Dunne International Singing Competition
02/04/2007 The Post. IE
It was a tender touch. It was also the only flaw in Mikona’s performance in the final of the Vernoica Dunne International Singing Competition. The 26year-old singer provided such a mature and blemish-free performance of Bellini, Verdi and Mozaret arias, that the audience decided there and then that she would carry off the €10,000 first prize.
Audience response, of course, is not an infallible guide and perverse judges often have different ideas (why do you think many competitions have an audience award?).However, in this case the crowd was spot on. Its spontaneous and sustained applause forced Moriya back onto the stage for more of the same. In truth, Moriya was an outstanding winner and well up to the high standard this event has achieved since 1995.Mikona’s fullness of voice, timbre and intonation, allied to a graceful presence and silk-smooth coloratura, pointed to a dazzling career. - By Dick O’Riordan
27th January 2007 IRISH TIMES
“Moriya, who took the 10,000 first prize with her arias by Bellini, Verdi and Mozart, offered the evening's most multi-faceted singing. She had an easy command of expressive vocal line and was capable of - but not insistent on - generous tone production.
Her coloratura may not have been balletic in its rhythmic precision, but she showed a panache, and, in Mozart's Der Hölle Rache, a fearlessness.”
The Magic Flute
The New York Theatre Wire
The Queen of Night (Mari Moriya, whose superb soprano could bewitch bobcats) is pure archetype, a silvery monarch in Japanese-inspired make-up with six slowly moving giant wings (operated by puppeteers in black) behind her. She reappears later in scarlet and black, now evil but even more mesmerizing. Her "Der Hölle Rache kocht in meinem Herzen" ("Vengeance of Hell stirs within my heart"), stopped the show. - By Glenda Frank
Sunnibel music festival
03/16/2007 The Islander
“Dr. Mann introduced Lyric Coloratura Soprano, Mari Moriya to sing the aria, “Der Holle Rache” from Mozart’s, “Die Zauberflote.” Besides the numerous awards and honors she has received, perhaps the greatest honor will occur when she joins the Metropolitan Opera this season to sing this most difficult and demanding aria sung tonight. Similar to the French coloratura, Lily Pons, her range, intervalic leaps, dexterity and musicianship are exemplary and I know that she will be well received in New York.”
The Abduction from the Seraglio
08/02/2006 Jerusalem Post
Of the five soloist, Japanese Soprano MariMoriya(as Kinstanze) clearly stood out. Presenting astonishingly rich, sonorous and accurate voicework along with perfect German diction. – By Omer Shomrony
Handel Gala Concert
03/26/2006 Stamford advocate
“Later in the evening, Moriya dazzled us with a daring “Let the bright Seraphim” from Handel’s Oratorio, “Samson”. It was one of many exciting parts of the evening.” – By Jerome R. Sehulster Special Correspondent
Metropolitan National Council
March 22, 2005 New York Times
“Mari Moriya's "Queen of the Night" aria showed scrupulous athleticism.” - By BERNARD HOLLAND
Magic Flute Mannes College of Music
May 10, 2005 New York Times
Mari Moriya sang the Queen of the Night well, and with so much color that one could envision her as, say, a Donizetti Queen. – By ANNE MIDGETTE