L'Amour des Trois Oranges

Opéra National de Lorraine – november 2022

“Margo Arsane gives us a superb Sméraldine, as Linette, a sure and well conducted voice, a convincing performance”.

Yvan Beuvard, Forum Opéra

L'Enfant et les sortilèges

Landestheater Coburg – October 2021

“Margo Arsane was convincing not only as a petulant – yet insightful – child, but also as a singer of the trade with her wonderful voice.”

“As a petulant child, Margo Arsane is a guest soloist engaged at short notice – very vibrant in playing as well as singing.”

“Again, with Margo Arsane (as a child) in the cast, one can be pleased with a spot-on casting of the lead role.”

Paris Opera Competition

September 2021

“Margo Arsane, appreciated for her vocal lightness in Les Amants magnifiques, anchors herself even more here with the melody “Qui vivra verra” by Gounod”.

Così Fan Tutte

Scottish Opera, Theatre Royal, november 2020

“Margo Arsane’s Dorabella was the most natural stage personality, every bit the sassy modern girl with the world at her feet, expressed through a warm toned, well-schooled high mezzo. The camera loved her.”

Andrew Clark, februar 2021 – Opera Magazine

“Her strongly flavoured mezzo a considerable asset, Margo Arsane’s Dorabella offers striking personality.”

George Hall, dec.16 2020 –

“Margo Arsane made a delightful weak-willed Dorabella”.

NOS 40th Anniversary concert

April 2019

“The authenticity of Margo Arsane’s zesty timbre and diction almost stole the show”

Opera Magazine, april 2019

Le Nozze di Figaro

Clonter Opera, july 2017

“Margo Arsane (Susanna) […] stood out from the opening scene. She’s just graduated from the Guildhall (and before that Lyon and Munich) and is a most accomplished performer, acting and reacting to the story all the time, and her voice is pure and clear, with power available but never over-used.”

(The Arts Desk, full review:

Radamisto - Haendel, GSMD

Milton Court, Londron june 2017

“From Polissena’s opening “Sommi Dei”, sung with cool and serene magnificence by the astonishingly gifted Margo Arsane […] 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.”

(Bachtrack, full review:…)

“Margo Arsane convincingly uses that [extravagante démonstration vocale] as the fearsome means by which to stand up to Tiridate as his long-suffering wife, Polissena, with impressive coloratura in her climactic aria ‘Sposo ingrato, parto si’.”

(Classical Source, full review:…/db_concert_review.php…)

Mavra, Stravinsky

GSMD, november 2016

“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 –

“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, november 02 2016 –

Le Comte Ory, Rossini

Cadogan Hall, june 2016

“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.”

(Bachtrack : full review: