Wagner DAS RHEINGOLD (Longborough Festival Opera)

“Marie Arnet imbued Freia’s phrases with arresting energy”
Yehuda Shapiro, Opera Magazine (Aug 2019)


Daníel Bjarnason THE BROTHERS (Icelandic Opera)

“the luminous soprano Marie Arnet and the athletic baritone Oddur Arnthor Jonsson managed to create the marital intimacy between Sarah and Michael with just a few tender gestures”
Amanda Holloway, Opera Magazine (September 2018)

FIGARO GETS A DIVORCE – Welsh National Opera

“Marie Arnet, who sang Lulu for WNO, stole the show as the unexpectedly opportunistic Susanna”
Fiona Maddocks – The Observer,  February 28th 2016

“Marie Arnet is new and excellent as Susanna, her wit swallowed up by frustrated motherhood”
Stephen Walsh – The Arts Desk,  February 22nd 2016

“But it is Marie Arnet’s brilliant Susanna who stands out”
Rhian Evans – The Guardian,   February 22nd 2016

LULU – Welsh National Opera (February 2013)

“The evening belonged to Marie Arnet, in the title role, taking on the part from scratch at less than three months notice.  Arnet not only looked and acted the part, but also displayed a level of musicality in her phrasing rare among even great Lulus.”
Peter Reynolds, Opera Now (April 2013)

“But since Marie Arnet’s compelling Lulu — visually having the gamine deadliness to perfection, vocally combining high radiance and a cutting edge — has undergone a sort of double love-death in her relationship both to Jack the Ripper … and to the lesbian Countess Geschwitz…the Wagnerian allusion doesn’t perhaps go amiss.”
Paul Driver, The Sunday Times (17 Feb 2013)

“Its fulcrum is Marie Arnet’s Lulu, the perfectly poised, ice cool blank on which every man she encounters can create his own fantasy; her performance is both wonderfully controlled and superbly sung”
The Guardian, Andrew Clements (10 Feb 2013)

“The Lulu-portrait which accompanies the action is a headless torso of blood-stained limbs suggesting the Hindu goddess Kali. But when Marie Arnet emerges as Lulu from a body-bag dragged on by her male counterpart Schigolch, her ice-cold beauty is matched by the crystalline perfection of her coloratura.”
The Independent, Michael Church (11 Feb 2013)

“Soprano Marie Arnet does a superb job in the title role, Elizabeth Davis (11 Feb 2013)

“Lulu is performed and inhabited by the soprano Marie Arnet. This is a tour de force of bravura coloratura and dramatic vocal shape, but utterly outstanding in its portrayal of Lulu’s sensuality without resorting to obvious Carmen-esque posturing and pouting. It is her seeming indifference to the men around her that makes her tantalizingly attractive – a fearsomely difficult characterisation to achieve, even without the incomparable complexities of Berg’s score. However, it needs to be remembered that remarkably, Arnet only accepted this role in November; her intricate preparation and interpretation of this staggeringly exhausting role is testament to her artistry. Marie Arnet’s Lulu is a classy vocal and dramatic phenomenon. She is brave in her approach to the demands of this exhausting role, and fearless in taking vocal risks – all of which pay off ceaselessly to create a Lulu of international importance. She is fearless also in creating the theatrical nature of this physical role – by peeling off her clothing in her scene with Alwa in Act II she can do no more to reflect her characterisation’s totality. Brave and sensual, fearsome and ultimately pitiful, Arnet has utterly impressive colour and commitment to Pountney’s vision of depravity, sexuality and symmetry. This portrayal inhabits Lulu with staggering physicality and vocal style and grip.”
Opera Britannia, Bethan Dudley Fryar (11 Feb 2013)

I CAPULETI E I MONTECCHI – Opera North (October 2008)

“…well matched against the more fragile Marie Arnet, an excellent Giulietta”
The Times, Geoff Brown (23 October 2008)

“Connolly, Arnet and Montvidas are all at their absolute best in the work, singing with remarkable lustre and refined passion”
The Guardian, Tim Ashley (23 October 2008)

“Opera North has engaged two first-rate singers for the leading roles…Sarah Connolly displayed a supremely intelligent mastery of bel canto style as Romeo, while Marie Arnet was cool, elegant and assured in rendering Juliet’s vulnerability and melancholy”
Rupert Christiansen, The Telegraph (23 October 2008)

“The cast, led by Sarah Connolly’s world-class Romeo and Marie Arnet’s virginal Juliet, create strong personalities that embody Bellini’s rapturous music…This Capuleti proclaims the many virtues of bel canto – and of Opera North”
Andrew Clark, The Financial Times (27 October 2008)