For a recent performance at the Library of Congress with the Handel and Haydn Society:

“…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 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:

“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 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