For Bach's Christmas Oratorio:
“Soloist Emily Marvosh, a dramatic contralto, lended heft and drama to the Christmas story. She outsang the rest of the ensemble, contributing elegant turns of phrase and grace to recitatives that often pass as filler.”
—Boston Musical Intelligencer, September 30, 2018
“…Emily Marvosh’s luminous contralto voice glorified all it touched."
---Boston Globe, October 1, 2018
For Bach's Mass in B Minor:
"Emily Marvosh's Agnus Dei was staggeringly gorgeous."
---Boston Globe, March 24, 2018
For Beethoven's Missa Solemnis:
"Emily Marvosh caught the eye with her rapt smile and the ear with her plum-wine voice."
--Boston Globe, March 19, 2018
For a Shakespeare program with Seraphic Fire:
“Emily Marvosh’s fine mezzo and crisp diction perfectly conveyed the fantasy of “Take, O Take Those Lips Away” from Measure for Measure”
--South Florida Classical Review, May 10, 2018
For her solo recital, Ferrier/Walter:
"Walter said of Ferrier, “a voice of rare beauty, a natural production of tone, a genuine warmth of expression.” The same might be said about Emily Marvosh, whose...songs soared over us gloriously, indeed. A singer of great charm, she communicates like a gifted actress in tones of polished amber."
--Boston Musical Intelligencer, February 16, 2017
For Handel’s Messiah:
Yet it was Marvosh whose velvety textures and passionate delivery made for the most enchanting moments. From first appearance (“But who may abide the day of his coming”) to last (“Thou art gone up on high”), she brought not only an emotional but also spiritual acuity to her renderings. Of those, “He was despised” was utterly moving for its contemplative patience. Even when she wasn’t singing, Marvosh brought poise to her listening, smiling throughout as the choir soared over such popular landscapes as “For unto us a Child is born.”
—Worcester Telegram, Monday, April 15, 2019
“Alto Emily Marvosh gave an unearthly calm to “But who may abide the day of his coming?” and was beautifully plainspoken in “He was despised and rejected of men.”
—The Boston Globe, November 28, 2015
“Noted for her dark, caramel voice, Marvosh is one of the finest singers in Boston….Her singing of Handel’s music is idiomatic and confident. The singer brought dramatic intensity to “But who may abide,” and found the fiery power to “For he is like a refiner’s fire.” In part two, her performance took on a more palpable drama and she captured the poignant sorrow of “He was despised.”
—Boston Classical Review, November 28, 2015
“Alto Emily Marvosh early on established a dominance of tone and communication that was wonderfully effective…supple, authoritative, beguiling.”
—Worcester Telegram, December 6, 2015
For a recent performance at the Library of Congress:
“…three selections…offered showcases for, in particular, the soprano Margot Rood, colorful and vital, and the rich, clear contralto Emily Marvosh.”
—Anne Midgette in the Washington Post, February 21, 2016
"Outstanding soloists include Margot Rood and Emily Marvosh in the first of Kent's anthems..."
--BBC Music Magazine, December 2016
For Bach's Matthäuspassion:
Alto Emily Marvosh’s rich, dark voice brought a sense of righteous anger to her recitative “Erbarm es, Gott!” In her aria “Können Tränen meiner Wangen” her lines quivered with intensity.
—Boston Classical Review, April 1, 2017
For Bach's Johannespassion:
Contralto Emily Marvosh is a perennially graceful presence on stage, and Friday night she sang...with convincing delivery and emotion. The crisp enunciation and vivacity she exhibited in all her arias gave the audience a deeper appreciation of the text."
—New Boston Post, March 14, 2016
For Stravinsky’s Les Noces with Chorus Pro Musica:
“Mezzo-soprano Emily Marvosh combined elegance and earthiness with engaging composure.”
—The Boston Globe, June 1, 2015
For the world premiere of Kauder’s Merlin with the Hugo Kauder Society:
“Bringing a particular shine to Kauder’s score were two charming singers in the lead roles. Tenor Samuel Levine proved a fluent and robust Merlin. And mezzo soprano Emily Marvosh’s sterling voice beamed in the role of Viviane. The two also acted with fine, dynamic chemistry in their duets.”
—The Classical Review, June 11, 2013
For Elgar’s Sea Pictures with the Brookline Symphony:
“Marvosh sang wonderfully, with ample strength in her low register and a graceful allure in her high range.”
—Boston Musical Intelligencer, March 5, 2013
For the world premiere of Joshua Shank’s Magnificat for the Mothers of the Plaza de Mayo with the Lorelei Ensemble:
“Of particular note was Emily Marvosh’s raw performance…Marvosh presented a smooth, yet surprisingly warm tone that remained poignantly expressive while presenting an impassive account of the tragic text.”
—Boston Musical Intelligencer, January 21, 2013
“Emily Marvosh, with her silvery, lush voice, performed…with a moving and bitter touch.”
—Boston Classical Review, January 19, 2013