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Recent reviews have praised Ms. Carmack for her "beautifully rich" and "stand-up-and-take-notice, dark, commanding" mezzo-soprano.

"Maire Therese Carmack's Dulcinée brings Spanish vocal flair to the stage right from the start. Her sonorous mezzo-soprano already shows in the opening scene that she also has Bizet's Carmen in her repertoire. Just as for the role of the famous [Romani], the interpreter of Dulcinée must have a seductive side to her voice. This is the case with Maire Therese Carmack, who can also vocalize the melancholic side of Dulcinée in the fourth act."

Die Dulcinée von Maire Therese Carmack bringt von Anfang an spanisch-stimmliches Flair auf die Bühne. Ihre klangvoller Mezzosopran zeigt schon in der Eröffnungsszene, dass sie auch die Carmen von Bizet in ihrem Repertoire hat. Genau wie für die Rolle der berühmten [Romani], muss die Interpretin der Dulcinée eine verführerische Seite in ihrer Stimme haben. Dies ist der Fall bei Maire Therese Carmack, die auch die melancholische Seite der Dulcinée in dem vierten Akt stimmlich umsetzen kann.

Klassik begeistert

"But one has to say that today's Dulcinée, the young American Maire Therese Carmack, brought a beautiful sound filled with attractive charm from the mezzo throat. It sounded vivacious and believably emotional, especially in the excursions into the lower register."

Aber man muss sagen, dass die heutige Dulcinée, die junge Amerikanerin Maire Therese Carmack, mit attraktivem Charme befülltem Schönklang aus der Mezzo-Kehle holt. Das klingt vital belebt, glaubhaft emotional, berührt, besonders bei den Ausflügen ins tiefe Register.

Opern- & Konzertkritik Berlin


"The most impressive of the cast vocally was Maire Therese Carmack as the malevolent Juno. Her deep, contralto-ish mezzo has a vibrant metallic timbre that maintains its quality into the higher range. She used her wide coloristic range to expressive advantage, whether in the commanding, "Hence, Iris, hence away" (another Handel hit tune), the cajoling "Behold in this mirror" or the viciously jubilant "Above measure is the pleasure." An imposing figure onstage, Carmack can take focus by her very presence."

Opera News

"Sumptuous hardly begins to describe Carmack’s dusky, lush voice. She sang Richard Strauss’s ‘Befreit’ and Jake Heggie’s ‘Animal Passion’ in the recital. The former throbbed with emotion and displayed her cavernous lower range, while the latter was pure fun. Undine Smith Moore’s ‘Love Let the Wind Cry’, which she worked on with Jamie Barton, was an outpouring of exaltation which convinced everyone that this singer was in love with love."

Seen and Heard International

"Mezzo Maire Therese Carmack effectively used every tool at her disposal. In the song “Animal Passion” by Jake Heggie, she used the piano to lean or pose suggestively to interpret the highly sexual imagery of poet Gini Savage, who describes the desire for a passionate love as frenzied and free as a wild cat. (Credit for some clever lyrics such as “let the voyeurs voyent.”) Her other piece, “Befreit” (“Released”) by Richard Strauss, was set to the text of Richard Dehmel, whose poems inspired songs by many German composers. Animating her face and body, as per the master class instructions, Ms. Carmack easily navigated the deliberate contradictions of the words. While the theme is death, the singer must also convey the joy that will come from it – literally, “O, Gluck” (“O, joy.”) She built the dramatic tension of the song, ending with a long, stirring final note. "


"Maire Therese Carmack was imperious as Juno, dispatching ‘Hence, Iris, hence away’ with bravura." 

Seen and Heard International

"Handel’s music gives Maire Therese Carmack excellent opportunities to display her beautiful mezzo-soprano voice. She made the most of them all, and cut a dazzlingly grand operatic picture in her brilliant costume. She acted the part of Juno with a perfect balance of comedy and the high dudgeon befitting a goddess scorned."

Pittsburgh in the Round

"The ending is powerful. Maire Therese Carmack as the Baroness de Koenigswarter has a beautifully rich tone, lamenting that “Bird” is gone."

Pittsburgh Post-Gazette 

"As Baroness Nica, Maire Therese Carmack’s voice, a stand-up-and-take-notice, dark, commanding mezzo-soprano, made you do just that."

Seen and Heard International

"Maire Therese Carmack, as Dorabella, sang with a velvety mezzo-soprano tone that was quite lovely."

Pittsburgh in the Round

"Carmack was all peaches and cream, both vocally and dramatically, as the more susceptible of the two sisters."

Seen and Heard International

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