Candide — Festival Opera "Breckenridge triumphs... Marnie Breckenridge is the leading light on stage. As Cunegonde, the much-abused but far from blameless heroine, she deploys her sparkling soprano to create an evolving character. The callow chirpiness of a young woman whose dreams of marriage are all pearls, marble halls and costume balls gives way to the frantic bel canto feats of 'Glitter and Be Gay' and a growing depth of insight and darkening tone of the second act. Her voice matures, as Cunegonde does, along the way." San Francisco Chronicle "As his Cunegonde, soprano Marnie Breckenridge boasts diamond-bright tone and assured comic presence; her agile performance of the coloratura aria 'Glitter and Be Gay' was the evening's showstopper." Contra Costa Times Lucia di Lammermoor — West Bay Opera "Ultimately, the pressure upon Lucia of all these competing loyalties and love for both Edgardo and her brother lays the groundwork for one of the most moving sequences in all of operatic literature: Lucia's mad scene in the third act. It is an exhibition of acting, vocals and obbligatos that challenge the best in any soprano. "And Breckenridge is superb. In this 20-minute excursion into madness, she holds the audience in thrall with 'Il dolce suono.' Her long cadenza with the flute in the stratosphere of her exquisite voice was simply dazzling." The Oakland Tribune "As Lucia, Ms. Breckenridge was willing to take risks with her stunning bel canto technique, and those risks paid off richly. Her voice was as powerful as it was lovely, her acting was convincing, and her performance of the extraordinary 'Mad Scene' — Il dolce suono, Ardon gli incensi and Spargi d'amaro pianto — was brilliant." The Almanac Lucia di Lammermoor — Indianapolis Opera "At Friday's opening-night show at Clowes Hall, she demonstrated so much facility with the lyricism of the 'bel canto' singing that Lucia's long-lined melodies were sweet indeed." Indianapolis Star Rigoletto — Festival Opera "Marnie Breckenridge, as Gilda, was exceptionally sure of tone and pitch, and displayed a good sense of line. It is always difficult for a modern, experienced woman to portray Gilda without affectation, but Breckenridge managed the trick. She provided a needed balance to [Hector] Vasquez' Rigoletto, but persuasively conveyed Gilda's emotional life." San Francisco Classical Voice Viva La Mamma — West Bay Opera "In 'Viva la Mamma,' soprano Marnie Breckenridge is Corilla Sartinecchi… Not only does she have a richly controlled and lovely voice throughout her vocal registers, she has a knockout comedic sense. She parodies this operatic stereotype, especially in a drawn-out cadenza that drives the other waiting performers up the walls." San Mateo County Times Hansel and Gretel — Arizona Opera "As Gretel Marnie Breckenridge's purity of sound imbued her character with innocence and charm." Arizona Republic The Ballad of Baby Doe — North Bay Opera "North Bay Opera's staging of Douglas Moore's 'The Ballad of Baby Doe' not only predated the San Francisco Opera Company's version but it also outclassed it. Soprano Marnie Breckenridge of Napa sang luminously in the title character role." Vacaville Reporter La Bohème — Nevada Opera "With a consummate singing and acting technique firmly in tow, Marnie Breckenridge's Musetta is a sensuously sexy seductress, a kind of operatic Marilyn Monroe. Her soaring soprano rings true for a vivacious 'Waltz Song' that's as suggestive and fun as it's beautifully sung." Nevada Events — Jack Neal's Theatre Reviews Candide — West Bay Opera "Breckenridge makes a sparkling Cunegonde. As the show's central female and object of Candide's affections, Breckenridge's contributions prove indispensable to the production's musical high points. In her prize number, 'Glitter and Be Gay,' Breckenridge was electric, charging into the song's stylistic variations and virtuosities with guileless aplomb." San Jose Mercury News