Revue de presse

Radamisto @ Milton Court Theatre, London

As Polissena, Margo Arsane reveals a beautiful, nuanced and supple soprano that executes some difficult lines extremely well.
Sam Smith, 7 Jun 2017 – musicomh.com

Sensitive negotiations: Handel’s Radamisto, Guildhall

From Polissena’s opening “Sommi Dei”, sung with cool and serene magnificence by the astonishingly gifted Margo Arsane, to the final joyful fireworks of Zenobia’s aria to joy (Jade Moffat), the musical treats never stop coming. Arsane gives a performance of exceptional sincerity and beauty as Tiridate’s abandoned queen and becomes the emotional centre of the work, using tasteful vibrato like an artist’s palette to shade and accentuate her lines, negotiating switches through the fourth wall and back with the ease of a talented actor.
Charlotte Valori, 06 juin 2017 – backtrack.com

Radamisto, Guildhall School, Milton Court

Margo Arsane was an efficient Polissena, with a nice line in comedy.
Alexandra Coghlantheartsdesk.com

A Russian double bill from the GSMD

Margo Arsane’s Parasha is no Sleeping Beauty, although the soprano’s free-floating folk tune did – despite, initially, a slightly hard edge to the tone – evoke a dreamy wistfulness as she flicked through a fashion magazine, nonchalantly scattering random pages onto the tumbling towers of textiles upon which she was perched.
[…]
Arsane captured Parasha’s capriciousness and vivacity, and moved easily from the plaintive modality of her folk lament to the decorative exuberance of the role’s coloratura demands.
Claire Seymour, 11/2016 – operatoday.com

Mavra and Iolanta: Russian double bill at the Guildhall School

The cast all worked very hard, and there were some moments. Margo Arsane sounded lovely with her lyrical cantilena…
Robert Hugill, 06/11/2016 – planethugill.com

Mavra and Iolanta: a strong Russian double-bill at the Guildhall School of Music and Drama

Margo Arsane’s Parasha was a bombshell with bubble-gum pink hair, letting a rope ladder adorned with sundry undergarments down to her lover. Arsane’s tonal clarity and perky delivery served her well…
Dominic Lowe, 02 novembre 2016 – bachtrack.com

Nuns on the run: laughs aplenty in Chelsea Opera’s Le Comte Ory

Whether comedy or opera seria, Rossini’s vocal writing makes demands on singers that can cruelly expose a lack of technique. The singers here all managed creditably, although curiously only one of the seven – Margo Arsane’s delightful Alice – had secure top notes…
[…]
Margo Arsane’s bell-like clarity shone as brightly as her superb French diction.
Mark Pullinger, 26 juin 2016 – bachtrack.com

« Bizet’s Don Procopio. Of the seven soloists soprano, Margo Arsane as the unwillingly-betrothed Bettina provided a thrilling coloratura rendition. »
Shelagh Godwin, Surrey Advertiser

« Rejoiceth ! » : Le Messie est lyonnais.

En soprano, Margo Arsane étonne par la multiplicité des rôles et des masques que sa voix très claire est prête à investir. Détaillant ses doubles croches au scalpel, elle ornemente aussi délicatement son discours (« Rejoice greatly, O daughter of Sion »), s’appuyant sur le violoncelle attentif de Cécile Vérolles. Si dans les deux premières parties, on désire juste un peu plus de rondeur dans ce timbre, celui-ci se répand tout en douceur ensuite : « I know that my Redeemer liveth » développe de beaux sons filés, l’air est magnifiquement empli d’une certitude épanouie et sereine.
Beate Langenbruch, Bachtrack (FR)

« Le timbre de Margo Arsane, aussi clair et éclatant qu’une clochette, impressionne tout autant que sa superbe diction française. »
Mark Pullinger, Bachtrack (UK)