Marie Masters Webb soprano


STEPHANA (Giordano's Siberia)
"The soprano Marie Masters, as the beleaguered Stephana, was articulate
and fervent in "Qual vergogna tu porti," the rough equivalent of "La mamma morta," Maddalena'a outpouring from Andrea Chénier."
             - Zachary Woolfe, The New York Times

ROSINA (Hiram Titus's Rosina)
"This emancipated Rosina came across as immensely likable in Marie Masters's portrayal, whose warm and fresh soprano was one of the stronger voices in the cast. A highlight was her duet with Amparo ... the Count's latest conquest, whose nascent romance with Cherubino she
gently, generously condones."

- Corinna da Fonseca-Wollheim, The New York Times

"The performances sold me on this piece. Marie Masters as Rosina was a lovely standout ... To say she negotiated well the vocal challenges of her role, from wide leaps to extensive legato singing in every part of her range, would be an understatement. Her Rosina had the dignity of Mozart's Countess, along with a touch of humility related to her present, reduced circumstances."
- Taminophile 

"Excellent soprano Marie Masters played this modern lady and carried the show. We disovered this singer in Dell'Arte's production of Salieri's Falstaff  last year​ where Ms. Masters was a feisty force of nature as Mrs. Ford. It was impressive to see her acting range in such a different and more mature character in Titus's Rosina, all while confirming her vocal talents as a very promising bright soprano." - Allegri con fuoco 


"Even though Falstaff is the title character, the show belonged to the merry wives, in particular Mrs. Ford, who devises and stars in each of the gags they play on the hapless knight. Suitably, dell’Arte cast this part on a Thursday evening with by far the strongest singer in the cast, the delightful soprano Marie Masters. Her lyric voice easily soared and dipped through Mrs. Ford’s playful music, and she made a particular highlight of the first act scene in which she disguises herself as a German au pair to flirt with Falstaff. Adept at the physical comedy of seduction (ending with Falstaff stuffed into a laundry basket), she later spun out the elegant lines of her “fairy” aria gracefully." 
  - James Jorden, New York Observer

"The vocal star of the night was Ms. Masters, whose barn-burning performance as Alice Ford made the show fly. Whether wrapping her husband around her little finger or ushering Falstaff down the primrose path to soakings, beatings and burnings (all these things happen to our hero, Defranchesci was a bit of a sadist!) this was a magnetic performance, delivered with a full, rich soprano that blasted its way high above the stave. She was at her best in the scene where Alice impersonates a German lady's-maid and sings a number im Deutsch, a reminder of the tastes of Salieri's Viennese audience."
  – Paul J. Pelkonen, Superconductor

"Masters ... with an agile, delicious soprano, was the star of the show, every gesture, every expression, every phrase part of her hilarious characterization as put-upon wife, mischievous conspirator, feigning lover and (disguised) sexy German au pair. (Salieri’s Vienna audience must have loved the “love” scene auf Deutsch.) While her high notes were fearless and beautiful, Masters’ lower voice was irresistible and sexy, and the transition from one range to another seamless and smooth. A first-rate singer and comedienne, she would be adorable in any Rossini, Mozart or Donizetti comedy, and her diction, in both Italian and German, is impeccable."
  – John Yohalem, Parterre Box

"Soprano Marie Masters (a winner of the Osgood/Dell'Arte Opera Ensemble Prize) brought a bright resonant sound to the role of Mrs. Ford.  Her intonation was as secure as her acting." – Voce di meche

"Although Falstaff was the main character, the real star of the show turned out to be Marie Masters' Mrs. Ford, a petite but unstoppable fireball whose luxuriously rich, endless pliable soprano voice kept everyone enthralled. By turns charming and shrewd, she never missed a single beat and had her moment of glory when she appeared as a Snookie-like German au-pair, impeccably switching back and forth from Italian to German before masterfully wrapping Falstaff around her conniving little finger."
  – Classical Music Rocks

"Soprano Marie Masters in the role of Mistress Ford truly stole the show. Masters is a fiery and feisty force of nature. She owned her numbers musically, singing her devious wiles both alone and in duet with Mistress Slender, and she acted up a storm. Masters played the faux-docile wife, the slinky seductress, the devious schemer, not to mention the clueless German bimbo, and every step of the way her stage presence was a thrill to watch. She really brought the role to life like a pro, with equally excellent Italian and German diction." – Allegri con Fuoco

TESS (Floyd's Markheim)

"As the maid Tess, a key fulcrum in the plot, soprano Marie Masters was innocent and compelling." - George Grella, New York Classical Review

"Appearing briefly but delightfully as Creach’s maid Tess, soprano Marie Masters, costumed as elegantly as she sang by Lara de Bruijn, provided a measure of sweetness and light to counterbalance the darkness of the tale."

 - Jon Sobel,


"As proof that even ‘smaller’ parts can generate tons of star power, sopranos Rachel Copeland as Mercedes and Marie Masters as Frasquita nearly brought down the house whenever they unleashed their powerful voices. Well-matched in beauty, the two voices were easily distinguishable, one from the other. In short, they were truly magnificent as Carmen’s flirtatious friends."
- Kelly Ferjutz, Cool Cleveland