Penelope in Il ritorno d'Ulisse in patria by Monteverdi

…Mary Ann Stewart gave an extraordinary performance as Ulysses's long suffering and faithful wife, Penelope. Her voice is not only generically beautiful but exactly right for this role, and she uses it with intelligence, emotive power and a fine precision in the meaningful projection of words. Her mastery of body language and her effective use of facial expressions for communication contribute to what is shaping up as a major operatic talent.

-Joseph McLellan for The Washington Post

Isolier in Le Comte Ory by Rossini

Mary Ann Stewart's performance is a feast for the eyes and the ears of all Bel Canto lovers.

-Heinz Godesar for Grenz Echo Redakton translation by Sandrine Ligabue

The Old Lady in Candide by Bernstein

The American Mary Ann Stewart is an excellent Old Lady…a beautiful, young mezzo-soprano bursting upon the scene with theatricality and a liquid, clear, well-controlled voice that come together on the stage to draw in and engage the audience.

-Guerrino Mattei for Factanet Italia translation by Marcella Calabi

Brangaene in Tristan und Isolde by Wagner

Mary Ann Stewart brought a firm, burnished mezzo and rich expression to her Brangaene.

-Tim Smith for Opera News

Isolier in Le Comte Ory by Rossini

The delivery is excellent with the promising debut of Mary Ann Stewart who portrays a vocally and scenically seductive page.

-Nurten Aka for Le Journal du Mardi translation by Sandrine Ligabue

The Mother in Amahl and the Night Visitors by Menotti

Especially good is Mary Ann Stewart as Amahl’s mother…Stewart’s lovely mezzo has just the right weight and maternal warmth for this role.

-Seth Williamson for The Roanoke Times

Clarissa in La pietra della paragone by Rossini

Mary Ann Stewart as Clarissa was earnest, honest and beautiful. And the voices…of course, Mary Ann Stewart was peerless as Clarissa.

-Kate Blackburn for Intermission

Concepcion in L'heure espagnole by Ravel

One of the thrills of regional opera is to come upon a talent like this, and to be able to watch it bloom over the years. The voice continues to grow with grace and without forcing, filling the hall and spinning out lovely tones with seeming effortlessness.

-Martin F. Heresniak for The Ithaca Journal