Sensitive negociations: 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


A russian double bill from the GSMD

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: 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: laugh’s 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

Sensitive negociations: 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


A russian double bill from the GSMD

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: 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: laugh’s 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