Emilia, Flavio (Handel)
New York City Opera

"Marguerite Krull sang beautifully as Emilia, especially in the lament.  Indeed, Ms. Krull proved to be the most adept Handel interpreter of the bunch with her florid, effortless cadenzas."

Sarah Gerk, Opera Today

"In the role of Emilia, the original name of the opera, the soprano Marguerite Krull showed agility and virtuosity in her singing, exhibiting a warm, clear timbre, with delicacy and a knowledge of the style."

Ramón Jacques, Pro Ópera
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Cherubino, Le nozze di Figaro (Mozart)
Lyric Opera of Chicago

"The big news Wednesday was the promising Lyric debut of American soprano Marguerite Krull as the love-sick pageboy Cherubino.  Krull has numerous Mozart heroines to her credit in the U.S. and abroad, including Susanna, Despina, Pamina and Dorabella.  The voice is fresh, steady and attractive, and her embellishments in both arias showed her to be a remarkably stylish musician.  Krull looked and acted the part well, darting about the stage with gawky abandon - a woman playing a teenage boy disguised as a woman… Catch Krull if you can."

John von Rhein, Chicago Tribune

"A new Figaro and new Cherubino added welcome fizz to an already charming production.  American soprano Marguerite Krull was the previously scheduled newcomer… Her clear, focused soprano gave Cherubino a shot of adrenaline, making the lovesick page something of an unpredictable firecracker.  Tall and slim, she was an eager young swain to warm the heart."

Wynne Delacoma, Chicago Sun Times
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Ciprigna (title role), La capricciosa corretta (Martin y Soler)
Recording, Naïve label

"Marguerite Krull fills this key role delightfully, with the needed determined charm, excellent style and Lucia Popp-like lyric clarity."

David Shengold, Opera News

Opéra de Lausanne

"The role of Ciprigna is a fabulous soprano showcase, packed with laughing coloratura and opera-seria-escapee rage arias in equal measure…and really well sung by Marguerite Krull - agile, rich-toned, dramatic"

Robert Thicknesse, Opera Now

"The title role excellently played by the American Marguerite Krull, who passes from one aria reminiscent of Così fan tutte to another in the style of Rossini."

Jacques Doucelin, Le Figaro

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Desdemona, Otello (Rossini)
Caramoor International Music Festival

"It remained for Marguerite Krull to achieve the most finely shaded and shaped singing of the evening in Desdemona's willow song and prayer, for which the audience rewarded her with the highest compliment: awed silence."

John W. Freeman , Opera News

"The fullest characterization is that of Desdemona… Marguerite Krull brought rich, rosy sound and lyrical sensitivity to her portrayal."

Anthony Tommasini, The New York Times

"Soprano Marguerite Krull is a vocal treasure.  Her tone is pure, her pitch is true and the sound is beautiful throughout her range.  She breezed through considerable difficulties and sang superbly as Desdemona in Rossini's "Otello" on Saturday evening at Caramoor in Katonah.  Ordinarily, I would not begin a review that way but I wanted to make sure that one of the most important aspects of the performance got across right away."

Francis Brancaleone, The Journal News

"Marguerite Krull - a regular star of bel canto evenings at Caramoor - was superb, her embellishments skillfully and beautifully worked into the line to create long phrases of perfect naturalness.  Her sound had been pure before; now it had a silvery delicacy."

Paul Griffiths, Andante.com

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Acrimante (title role), L'empio punito (Alessandro Melani)
Oper Leipzig

"The most impressive [of the voices]…above all that of Marguerite Krull, with remarkable intensity in the role of Acrimante."

Opéra International

"Krull dominated both in sweet melodiousness as well as sharp timbered passion.  She shaped a love aria ever as surely as a rage aria"

Helmut Mauro, Süddeutsche Zeitung

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Despina, Così fan tutte (Mozart)
Washington Opera

"Miss Krull's worldly young servant not only soared in a couple of choice arias but also managed to impersonate both a notary and a mesmerist with a wonderfully over-the-top sense of slapstick."

T.L. Ponick, The Washington Times

"And then there is the sisters' maid Despina, the most comic of the opera's roles, but often played crudely.  Not so here, with soprano Marguerite Krull, a brilliant Sesto in the company's recent Giulio Cesare, bringing to the role a masterful blend of cynicism and frivolity.  One could not imagine a better accomplice for Don Alfonso."

Ronald G. Precup, Intermission
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The Child, L'enfant et les sortilèges (Ravel)
National Symphony Orchestra

"The top-notch cast was headed by Marguerite Krull, sporting a baseball cap worn backwards and conveying all the sulky body language of a spoiled kid.  Her warm, flexible voice and superbly detailed phrasing had a disarming impact."

Tim Smith, The Baltimore Sun
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Ninetta, La gazza ladra (Rossini)
Caramoor International Music Festival

"The soprano Marguerite Krull sang with suitable sweetness and simplicity of tone as Ninetta, and maintained those qualities even when the score was demanding the whirligigs she executed so beautifully."

Paul Griffiths, The New York Times

"The youthful cast was dominated by two virtuosic stylists, the dauntlessly poised, wide-ranging soprano Marguerite Krull as Ninetta…"

Martin Bernheimer, Opera
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Sesto, Giulio Cesare (Handel)
Washington Opera

"Soprano Marguerite Krull was a delight in the "trouser role" of Sextus, Pompey's young son who must grow up almost overnight to protect his mother and avenge his father… Miss Krull's light-textured voice lends credibility to the part she is playing, and she's pretty good with a sword, too."

T.L. Ponick, The Washington Times

"Sextus, sung by soprano Marguerite Krull, was also fully limned into a convincingly adolescent spark plug, bubbling with Oedipal desires and steeled to the purpose of revenge."

Philip Kennicott, The Washington Post

"Most convincing were mezzo Catherine Keen as the widow Cornelia and soprano Marguerite Krull as her stepson Sesto, ravishing together in "Son nata a sospirar," the lament duet that closes Act I."

Pierre Ruhe, Opera News

"For the rest, I thought highly of Marguerite Krull's boyish Sextus; she is a real Handelian."

Martin Mayer, Opera
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Giulietta, I Capuleti e i Montecchi (Bellini)
Berkshire Opera Company

"As Giulietta, Marguerite Krull revealed a gleaming soprano, even throughout, with a hefty middle range and flexibility that generally navigated Bellini's florid score with superb style, punctuated with a rippling trill, even when the composer did not demand it, and an exquisite piano."

Richard Houdek, The Berkshire Eagle

"Finest among the singers was soprano Marguerite Krull as Giulietta.  This former mezzo did especially well musically and emotionally by "O quante volte" and Bellini's original death scene."

Leighton Kerner, Opera News
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The Daughter, Jepthe (Carissimi)
American Bach Soloists

"Soprano Marguerite Krull gave a brilliant performance as the daughter - her singing fiercely pure and searching, her technique beyond reproach."

Joshua Kosman, San Francisco Chronicle
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Belle, La belle et la bête (Philip Glass)
Oakland Opera

"There is a wondrous pair of leads: the internationally-known soprano Marguerite Krull as Belle, with a powerful, soaring voice, and strong, affecting stage presence…"

Janos Gereben, Oakland Tribune
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Cherubino, Le nozze di Figaro
New York City Opera

"A brilliant standout in the cast was Marguerite Krull as Cherubino.  With her gorgeous voice and lively stage presence, she seemed worthy of the roster of the neighboring Metropolitan Opera."

Olin Chism, The Dallas Morning News

"Soprano Marguerite Krull was totally convincing as the youthfully spirited, amorous Cherubino, fleet of voice and action"

Ruth Berges, Opera Canada