Soprano Maureen McKay is praised and celebrated for her silvery soprano and dynamic character portrayals. Original engagements during the COVID-19 shortened 2019-2020 season include performances of Barbarina and covers of Susanna in Le nozze di Figaro with the Metropolitan Opera, where she will also cover Sophie in Werther.  McKay will also be featured in Festival Chamber Music at the Museum of Jewish Heritage at Battery Park as part of their Auschwitz exhibit, featuring music by Lori Laitman, and also in Music by the Glass featuring works by Dowland and Schubert.

Last season included returns to the roster of the Metropolitan Opera as Suor Genovieffa in Suor Angelica, Opera Colorado as Susanna in Le nozze di Figaro, and to Lyric Opera of Kansas City as Despina in Così fan tutte. She also made her debut with the Lincoln Center for their Mostly Mozart Festival as Pamina in Barrie Kosky’s acclaimed production of Die Zauberflöte, and debuted with Virginia Opera as Rose in Kurt Weill’s Street Scene. She also presented a solo recital at St John’s Worthington in Columbus, Ohio as part of their Music Series.

During the 2017-2018 season, Maureen McKay made her much-anticipated Metropolitan Opera debut as Gretel in Hansel and Gretel, and returned to San Diego Opera as Mabel in The Pirates of Penzance. She also joined the Metropolitan Opera for their production of Roméo et Juliette. In the 2016-17 season McKay made her debut with San Diego Opera as Nannetta in Falstaff and returned to the Lyric Opera of Kansas City as Susanna in Le nozze di Figaro. McKay also sang Pamina in Die Zauberflöte in returns to Gran Teatre del Liceu and Komische Oper Berlin, as well as joined The Chekhov International Theatre Festival at The Bolshoi Theatre in the production where she originated the role in 2012 with Barrie Kosky and “1927”. She also joined Opera Saratoga in her debut as Zémire in Zémire et Azor.

In the 2015-16 season McKay made her mainstage debut with Seattle Opera in her role debut as Léïla in Bizet’s Les pêcheurs de perles. She also joined The Danish National Symphony Orchestra for performances of Händel’s Messiah and the Choir and Orchestra of Teatro Carlo Felice in Génova for Mahler’s Symphony No. 2, both under the baton of Fabio Luisi. She also joined the Colorado Springs Philharmonic for Beethoven’s Symphony No. 9 and Barber’s Prayers of Kierkegaard. Other engagements included performances of Pamina in Die Zauberflöte with Gran Teatre del Liceu and returns to both The Atlanta Opera for Mabel in The Pirates of Penzance and Portland Opera for Pamina in Die Zauberflöte.As a previous member of the ensemble at the Komische Oper Berlin, McKay sang leading roles in the premieres of several new productions that include Blanche in Dialogues des carmélites, Gretel in Hänsel und Gretel, Pamina in Die Zauberflöte, and Marzelline in Fidelio. Also with the company, she sang Mozart’s Requiem in performances conducted by music director, Henrik Nánási, as well as Sophie in Der Rosenkavalier, Susanna in Le nozze di Figaro, Norina in Don Pasquale, and Musetta in La bohème. She returned as a guest to reprise the role of Elisa in a concert performance of Il re pastore.

Among her other previous engagements are Gretel in Hänsel und Gretel with Bayerische StaatsoperOpera Company of PhiladelphiaPortland Opera, and Tulsa Opera; Nannetta in Falstaff with the Saito Kinen Festival; Pamina in Die Zauberflöte with Washington National OperaEdinburgh International FestivalLyric Opera of Kansas City, and Opera Colorado; Anne Trulove in The Rake’s Progress with Portland Opera; Susanna in Le nozze di Figaro with Opera Cleveland; a return to the Opera Company of Philadelphia for Eurydice in Gluck’s Orphée et Eurydice; Lightfoot McLendon in Cold Sassy Tree with The Atlanta Opera, Lilla in Una cosa rara and Elisa in Il re pastore with Opera Theatre of Saint Louis; Zerlina in Don Giovanni with New Orleans Opera; Despina in Così fan tutte and Caroline Gaines in Richard Danielpours Margaret Garner with New York City Opera; Musetta in La bohème with Opera Omaha; Norina in Don Pasquale with Anchorage Opera; Lisa in La sonnambula with Washington Concert Opera; and Laurey in Oklahoma! with Central City Opera. She joined Seiji Ozawa for the Dew Fairy and the Sandman in Hänsel und Gretel in his Ongaku-juku Opera Project throughout Japan and made her debut with the Los Angeles Philharmonic as Papagena in Die Zauberflöte conducted by Leonard Slatkin at the Hollywood Bowl.

The soprano’s concert performances include Mahler’s Symphony No. 4 with The Cleveland Orchestra, Schmidt’s Das Buch mit sieben Siegeln with the Orchestra dell’Accademia Nazionale di Santa Cecilia, Mozart’s Requiem and Debussy’s La demoiselle élue with the Utah Symphony, a program of Viennese music by Lehár and Johann Strauss with the Saint Louis SymphonyCarmina Burana with the National Symphony OrchestraSeattle Symphony, and Utah Symphony, Grieg’s Peer Gynt with the Oregon Symphony and Louis Andriessen’s The New Math(s) with the Seattle Chamber Players. With Seattle’s Music of Remembrance, she premiered Lori Laitman’s song cycle I Never Saw Another Butterfly for soprano and clarinet and sang Aninku in Tony Kushner’s adaptation of Hans Krasa’s Brundibár; a recording including both Brundibár and Laitman’s song cycle is available on the Naxos label. She also performed Simon Sargon’s song cycle, Shema, with Music of Remembrance. Ms. McKay joined Judith Clurman for The Sound of Music 50th Anniversary Festival at the Mozarteumin Salzburg to perform a program of Rogers and Hammerstein classics.

Ms. McKay is a former member of Seattle Opera’s Young Artists Program and was a Filene Young Artist with Wolf Trap Opera Company, where she sang Johanna in Sweeney Todd, Ismene in Telemann’s Orpheus, and Susanna in Le nozze di Figaro. She earned her Bachelor of Music at Columbus State University in Georgia (summa cum laude) and her Master of Music at The Ohio State University.


Metropolitan Opera – Hansel and Gretel

She belongs at the Met; her Gretel danced confidently and sang increasingly well, especially in the upper register, up to the optional D.”

David Shengold, Gay City News

 San Diego Opera – Pirates of Penzance

Having witnessed soprano Maureen McKay’s luminescent Nanetta in last season’s SDO Falstaff, it was even more pleasurable to hear the full capabilities of her lyric coloratura in the role of Fredric’s heartthrob, Mabel. Though the difficulties of this character’s vocal pyrotechnics are often underestimated. McKay dazzled with her vocal beauty and dashed off the fioratura in true Beverly Sills fashion.”

Erica Miner, LA Opus

“But the stellar soloists made the evening, starting with Maureen McKay’s Mabel. Her buoyant lyric soprano generously filled Sullivan’s gentle ballad melodies, but when called to soar into the brilliant coloratura stratosphere, she did so with amazing power and apparent ease that did not compromise the beauty of her line one iota.”

Ken Herman, San Diego Story

“Frederic falls for the beautiful young Mabel (golden-voiced soprano Maureen McKay)…As his most assertive and amorous daughter, McKay displays a stunning coloratura, with luscious vocal leaps, and trills that thrill.”

Pat Launer, Times of San Diego

“As Frederick’s love interest, Mabel, Maureen McKay—terrific in both dramatic range and comedic effect—produces pitch-perfect trills.”

Milo Shapiro, Stage and Cinema

“Having attained percolated prominence from the earlier Falstaff, returning Maureen McKay pleasingly renditions as the swooning Mabel; however, her strength lies inside moments of softer musical equations. Thus, we have a most tender, melodic moment during the amorous repose, “Oh, here is love, here is truth” in concert with Mr. Whitney’s Frederic.”

Christie Grimstad, ConcertoNet

“He’s.. (Frederic) the perfect match for the effervescent Maureen McKay, the coloratura soprano who plays his lady love, Mabel.”

Pam Kragen, San Diego Tribune

Saratoga Opera – Zémire et Azor

Maureen McKay is a charming Zemire, the woman who sacrifices herself to live with a beast-like creature in order to save her father’s life. She shows the woman to be as humble as she is beautiful, and as kind as she is brave. It’s a delicate performance that is always true to the character. As for singing, the cliché she sings as lovely as a bird is proven true as her solo that captures the beauty of a bird in flight stops the show.”

Bob Goepfert, Saratogian

“Zémire, played by soprano Maureen McKay, is a beauty indeed. She’s blond and petite with a mature luster and pleasing agility to her voice. Her arias are some of the score’s best moments and bring to mind Mozart.”

Joseph Dalton, Times Union

“Soprano Maureen McKay as Zemire sang her many arias with eloquence.”

Geraldine Freedman, The Daily Gazette

“Soprano Maureen McKay was enchanting as Zémire, who seemed to have stepped out of a Fragonard painting in her sparkling gown of deep peach and flowing, strawberry blonde locks. Vain pleasures may not interest the girl, but she admits to Azor that she likes to sing. He bids her to do so, and she obliges him with vocal acrobatics that enchant the beast and human listeners alike in the coloratura display piece ‘La Fauvette’. Later, she melted hearts in ‘Azor, Azor! En vain ma voix t’appelle’, each call of the Beast’s name echoed by the plaintive call of the horn. Who wouldn’t fall in love with such a visage and such a voice?”

Rick Perdian, Seen and Heard International

“As the heroine Zémire, soprano Maureen McKay was enchanting. Possessed of a natural grace, an infectiously beaming smile and a voice of unalloyed silver, McKay aced the challenge of achieving actual chemistry with the terrifying animated construct that was her principal stage partner for the lion’s share of the performance. And her negotiation of the florid hazards in the famous birdsong, “La fauvette,” was pure magic.”

Charles Geyer, La Scena Musicale

“With a rich, expressive timbre, Maureen McKay was a charming Zémire; she sang beautifully…McKay is the rare opera singer who looks graceful dancing onstage next to professionals.”

David Shengold, Opera News

The Spanish Poems – Recording

The three pieces on the current offering are sung in English by the talented Maureen McKay. Long melismatic lines fill The Girl from Guatemala to a text by Cuban poet José Marti (originally La Niña de Guatemala) while the orchestra sustains its catchy rhythms throughout. The sustained high note at the end, I believe a high C, is fearlessly tackled by the experienced opera singer Maureen McKay (a former member of the Seattle Young Artists Program and the Komische Oper, Berlin). Throughout her voice, which glistens marvelously, seems to offer the perfect blend of accuracy and flexibility.To McKay’s credit, she delivers the graceful curves of Chesky’s music impeccably; it would be so easy to swoop around, but one can track the melodic contours with ease and the intervals within them. Particularly noteworthy is McKay’s expert staccato in this song, as perfect as that of the woodwinds that provide this song’s particular character.”


“Played by Chesky’s pick-up Orchestra of the 21st Century, they are sung in English by the versatile, technically triumphant soprano, Maureen McKay. Most sopranos, I expect, would run from this assignment. In fact, it took a consultation with Met conductor Fabio Luisi before Chesky could find an artist capable of performing his music faithfully, and with aplomb. Since the first song’s heroine dies from love, Chesky commands McKay to commit virtual vocal hari kari in less than eight minutes. That the former member of Seattle Opera’s Young Artist Program, who has since sung at the Met and been a resident artist at Komische Opera Berlin, manages to get through it with just a little sweat is a near-miracle. All the while, the orchestra sustains a dancing rhythm that features coloristic effects.”

Jason Victor Serinus, Stereophile

San Diego Opera – Falstaff

Soprano Maureen McKay’s much-anticipated Nannetta did not disappoint. Every note shimmered with luscious beauty, and her peppy physical comedy was a pleasure to watch. The stage positively glowed with her presence. The interactions between her and tenor Jonathan Johnson were precious few, but the duo delivered charmingly in their mutual vocal sonorities and the intensity of their love was so touching as to inspire one almost to believe in the ideal virtues of true love.”

Erica Miner, BroadwayWorld

“Maureen McKay stands out for her purity of voice and control as Alice’s daughter, Nannetta.”

Pam Kragen, The San Diego Union-Tribune

“McKay, an alumna of the Seattle Opera’s Young Artist’s program and the ensemble of the Komische Oper, Berlin, was a radiant Nannetta.”

William Burnett, Opera Warhorses

“…and the lighter but equally fluid soprano of the young Maureen McKay as her love-struck daughter Nannetta proved an ideal match.”

Ken Herman, San Diego Story

“As Nanetta, soprano Maureen McKay sang with crystalline tones. She and the Fenton, sweet-toned tenor Jonathan Johnson, were perfect young lovers with all the energy youth implies.”

Maria Nockin, Opera Today

Lyric Opera of Kansas City –  Le nozze di Figaro

Maureen McKay, as Susanna, the quick-witted, fiery bride, challenged their schemes and bravado and jealousies. Her “Deh vieni, non tardar” was exquisite.”

Libby Hanssen, The Kansas City Star

Portland Opera – Die Zauberflöte

“Maureen McKay (Pamina) was the most consistently fine singer, quite moving in the Act II lament.”

Mark Mandel, Opera News

“Shawn Mathey and Maureen McKay had tender chemistry as the lovers Tamino and Pamina, ingénues with supple voices.”

James McQuillen, The Oregonian

“Maureen McKay, who sang Gretel a few seasons back in Portland Opera’s Hansel and Gretel, is a bright and self-determined Pamina, a thoroughly modern millie of a heroine, appealing for her forthrightness and can-do attitude.”

Bob Hicks, Oregon ArtsWatch

Atlanta Opera – Pirates of Penzance

Atlanta native Maureen McKay likewise gives classics like “Poor Wandering One” an enchanting, lilting beauty.”

Andrew Alexander, The Atlanta Journal-Constitution

“Maureen McKay, negotiated Mabel’s music with a crystalline soprano, precision and charm.”

Stephanie Adrian, Opera News

Seattle Opera – The Pearl Fishers

A fully flesh-and-blood Leila, the heavenly soprano Maureen McKay had a purity of tone and vocal strength that hovered seemingly effortlessly, even in a number of top notes. Her attempt to seduce Zurga into mercy was spot-on.”

Maggie Larrick, Queen Anne & Magnolia News

“The shrewdest casting was Maureen McKay as Léïla, her soprano rich in timbre, with something worldly and knowing about it (I kept thinking of the saucy maid Adele in Die Fledermaus, for some reason), and not much of chaste innocence. From her first line, just because of that timbre, you knew Léïla wasn’t going to pan out as the virginal designated pray-er the villagers expected. (I could hear it; why couldn’t they?) Interestingly, McKay’s vocal technique in three florid passages betrayed her character’s real priorities…in her confrontation with Zurga begging him for mercy—her feminine wiles at full force—she nailed.”

Gavin Borchert, Seattle Weekly

“Maureen McKay, singing classically with clean trills and grace notes, seemed really to be the chaste priestess that Zurga and Nourabad wanted Léïla to be.”

Mark Mandel, Opera News

“Saturday’s opening-night cast was headed by baritone Brett Polegato (Zurga) and tenor John Tessier (Nadir), two buddies who get the opera’s best tune (the duet “Au fond du temple saint”) but are in love with the same woman (the celestial soprano Maureen McKay). Tessier’s lyrical, soaring tenor was an excellent match for the delicacy and purity of McKay’s Leila.”

Melinda Bargreen, The Seattle Times

Love Came Down at Christmas – Recording

Maureen McKay, currently singing the soprano lead in Seattle Opera’s production of Bizet’s The Pearl Fishers, floats tones angelically in Jennifer Higdon’s Love Came Down. McKay and Barton collaborate to bring the cycle a lively close to with the ever-popular We Wish You a Merry Christmas.”

Erica Miner, BroadwayWorld

“Jennifer Higdon’s “Love Came Down” is clear and beautiful as well and features McKay’s sweet, crystalline tone, floating above this contemplation of the true meaning of the season, in the many ways it’s celebrated.”

Sherri Rase, Q Onstage

Edinburgh International Festival – Die Zauberflöte

But it was that true love, Pamina, who was the bright shining star in what was anyway a truly stellar show. American soprano Maureen McKay- or should I say, the coquettish Ms. B.- sang with such purity, that even the forces of evil seemed stopped in their tracks. Amid all her trials and tribulations, with both humans and cartoons, her phrasing, her timing, her cadences, were perfect. It was a performance of rare beauty.”

Scottish Daily Mail

Portland Opera – The Rake’s Progress

Soprano Maureen McKay was Anne Trulove to the life, singing beautifully with held high notes (on “goes” before and “art” in her cavatina, on the cabaletta-capping “heart,” on the goodbye to Tom) that, like her love, never wavered.”

Mark Mandel, Opera News

“Anne Trulove (Maureen McKay) was a lyrical star in the Stravinskian diadem, her pianissimo high notes captivating at the end of the opera.”

Bruce Browne and Daryl Browne, Oregon ArtsWatch

“As Anne Trulove, the steadfast country girl Tom abandons, Maureen McKay sang with a pure, strong soprano well suited to her role.”

James McQuillen, The Oregonian

Opera Colorado – Die Zauberflöte

Soprano Maureen McKay is exceptional as his beloved Pamina. A singer with striking presence and highly disciplined vocal technique, McKay transfixes the eyes and ears throughout the production.”

Kelly Dean Hansen, The Daily Camera

“There are other fine vocals, coming when it counts from Jonathan Boyd, as the protagonist Tamino, and Maureen McKay, as his beloved Pamina. Both sing with considerable warmth and they are paired well.”

Ray Mark Rinaldi, The Denver Post

Komische Oper Berlin – Die Zauberflöte

Vocally the star of the show was Maureen McKay playing the demure Pamina the daughter of the Queen of the Night. Clothed in black and white to look ordinary McKay was highly assured, with a lovely creamy tone and impeccable diction, delivering just the right amount of expressive yearning for Tamino’s affections.”

Michael Cookson, Seen and Heard International

Washington National Opera – Die Zauberflöte

Pamina, Maureen McKay combined a charming stage presence with a soprano voice of sweet clarity and sincerity. McKay is the kind of opera singer who gives opera a good name these days – her acting is equal to her musical artistry.”

Jeffrey Walker, Broadway World

“Maureen McKay and her liquid-gold soprano voice proved a winning combination, combining to create a winsome and charming Pamina, Tamino’s initially confused intended. Ms. McKay carried the role with a kind of girlish elegance.”

Terry Ponick, Communities Digital News

“luminous performance… McKay has a bright lyric soprano with gorgeous high notes and elegant pianissimo, and she’s a good actress. Since Pamina is her WNO debut, I hope she’ll return. When he (Joshua Hopkins) and McKay sang their first act duet about the virtues of love, I heard the vocal eloquence of two genuine Mozarteans.”

Susan Dormady Eisenberg, Huffington Post

“Soprano Maureen McKay also commands attention as Pamina with her radiant tone and refined sculpting of her Act 2 aria.”

Tim Smith, The Baltimore Sun

“Another standout was Maureen McKay as a Pamina in geometric blue dresses that evoked “Alice in Wonderland.” Her soprano voice gained in warmth and flexibility as the evening continued.”

Anne Midgette, The Washington Post

“American soprano Maureen McKay, slight in stature but mighty in a voice full of romantic yearning, makes an appealing heroine.”

Gary Tischler, The Georgetowner

“Giving her Pamina some Dorothy-of-Oz cuteness and gumption, Maureen McKay sings with appealing sweetness and delicacy.”

Kate Wingfield, Metro Weekly

“Maureen McKay’s Pamina was charming, and she spun out ‘Ach, ich fühl’s’ (‘I’m a fool, a fool to trust him,’ as sung here) with a truly melting tone.”


“Pamina was brought nicely to life by Maureen McKay, whose light, silvery soprano took on a shimmering, melting quality in her Act II aria.”

Tim Smith, Opera News

Cleveland Orchestra – Mahler’s Symphony No.4

Likewise enchanting was the performance by soprano Maureen McKay in the symphony’s final movement, a vision of heaven as perceived by a youth. More than just a bright, pretty voice, McKay also brought to her performance a keen sense of dramatic expression, singing as if she herself were enjoying the bliss of an afterlife filled with eating and dancing. Ultimately, thanks to Luisi and McKay, the night closed with an opening.”

Zachary Lewis, The Plain Dealer

“McKay was an excellent soloist, inhabiting the child’s voice as a character without resorting to parody. She captured the sense of wonder inherent in the old German folk-poem, singing about heaven as a place of endless plenty and dissolving into bliss at the end—straightforward, without irony. McKay’s diction was clear without overemphasis, and her voice has a silvery quality that is ideal here.”

Mark Sebastian Jordan, Seen and Heard International

Komische Opera Berlin – Die Zauberflöte

The young ensemble member Maureen McKay was a tender-voiced Pamina, a role she sang with an unadorned sweetness.”

A.J. Goldman, Opera News

“When Maureen McKay begins to interpret Pamina’s aria “Ach, ich fühl’s, es ist verschwunden” she seems to detach herself from the screen and reaches out to the audience. It is one of the few touching moments of the evening.”

Volker Blech, Berliner Morgenpost

“Maureen McKay sings and performs this young girl very well, always making fear, love and despair very clear. The aria “Oh, I can feel it, it’s gone …”, as she doubts Tamino’s love because of his silence and decides to end her life, goes directly to the audience’s heart.”

Ursula Wiegand, Der Neue Merker

Komische Oper Berlin – Hänsel und Gretel

Maureen McKay has the ideal voice for performing Gretel. The high notes she sings brilliantly and effortlessly with a full voice in mid-range, acting with a light-footed verve. Her dance moves with Hansel at the beginning of the opera are cool and funny at the same time…Both singers harmonize strongly with each other and contribute greatly to the performance with refinement and quality. The “Abendsegen” beginning very piano is among the highlights musically.”

Damian Kern, Der Neue Merker

“Vocally it is at a high level, Theresa Kronthaler and Maureen McKay sing the siblings as lively as a beautifully sounding.”

Peter Uehling, Berliner Zeitung

Washington Concert Opera – La Sonnambula

As Lisa, who keeps the local inn and has designs on Elvino herself, the soprano Maureen McKay showed considerable coloratura chops”

Anne Midgette, The Washington Post

“As Lisa, Ms. McKay proved more delightful than malevolent as Bellini’s designated villain. She really has nothing against Amina other than the fact that she herself wanted to marry Elvino. Ms. McKay vocally alternates an almost syrupy charm when she’s pleased with herself, and an almost adolescent petulance when things go the other way. We recall her fine performance as Johanna in Wolf Trap Opera’s Sweeney Todd some time back, and it’s clear that she has continued to grow as a fine young artist whose career is now well on its way.”

Terry Ponick, The Washington Times

Central City Opera – Oklahoma!

Soprano Maureen McKay as the heroine Laurey Williams presents an extraordinarily sympathetic and attractive character. McKay is beautiful and profound, both in her own numbers, such as “Many a New Day,” where she must engage in intricate stage business while carrying a difficult song, and in the familiar and beloved duet “People Will Say We’re in Love.””

Kelly Dean Hansen, Daily Camera

“Worth was aptly paired with Maureen McKay as Laurey. With a buoyant, natural singing style, this fresh-faced soprano looked and sounded the part, capturing both her sassiness and her vulnerability. Ably backed by conductor Christopher Zemliauskas, Worth and McKay and the rest of the superbly chosen cast set aside opera-house manners and threw themselves into the spirit of Oklahoma!”

Kyle Macmillan, Opera News

Komische Oper Berlin – Dialogues des carmélites

The singers were drawn mostly from the house’s ensemble, with one of the company’s recent acquisitions, the young soprano and NYCO veteran Maureen McKay, starring as Blanche de La Force. McKay made an excellent impression as Marzelline in last season’s premiere of the 1805 version of Fidelio. Her Blanche had the aspect of a hunted animal, a directorial choice at odds with the fuller dramatic and vocal range that McKay displayed. What came across most forcefully was her character’s vulnerability and conviction, qualities easily transmitted by a bright, young voice.”

A.J. Goldmann, Opera News

“Blanche, the main character in the opera, was cast ideally with the young Maureen McKay. Her beautiful, well-conducted soprano full of nuances can be praised as well as her convincing acting. Whether she suffers from panic attacks or has cheerful moments as well – she always appears credible.”

Der OpernFreund Kritiken der Wiener Staatsoper

“Maureen McKay sings this role with trembling fervor.”

Klaus Geitel, Berliner Morgenpost

“Enchanting in voice and play is Maureen McKay as Blanche: sexy in her mental confusion, Blanche hits her head bloody at the bed rail. Later, she aimlessly climbs around in the bed front parallel to the ramp which stands for her abandoned father’s house.”

Peter P. Pachl, Neue Musikzeitung

Portland Opera – Hansel and Gretel

Most crucial, the cast was dynamite. One knew in advance that the show had two lovely leads in Sandra Piques Eddy and Maureen McKay, and one listened and watched in awe as they sang, danced and played the siblings with style, color and panache. McKay’s soprano was more slender, but her singing was infused with vivacious personality and didn’t seem to suffer from her running all over the stage. In Gretel’s most florid music, when she imitates the morning lark, McKay ran in place while warbling “tirelireli” and twirled on the high D.”

Mark Mandel, Opera News

“Sandra Piques Eddy and Maureen McKay (Hansel and Gretel, respectively) are both excellent, convincingly playing energetic and careless children while maintaining the operatic power necessary to hit the back rows of the vast Keller Auditorium.”

Ned Lannamann, The Portland Mercury

Komische Oper Berlin – Fidelio

Maureen McKay, a young American soprano (and NYCO veteran) who joined the KOB ensemble this season, made a wonderful impression as Marzelline. She sang with accuracy and agile phrasing, nowhere more so than in the reverent Act I quartet “Mir ist so wunderbar.”

A.J. Goldmann, Opera News

“Maureen McKay, who has been in the ensemble since the beginning of this season, sings her Marzelline with a lyrically dramatic soprano, well integrated into the ensembles, pithy and marked out against Jaquino.”

Der Opernfreund

Opera Company of Philadelphia – Orphée et Eurydice

Maureen McKay sang almost effortlessly as Eurydice and was dramatically riveting while pleading with Orphée to look at her during their fateful journey out of the underworld.”

David Patrick Stearns, The Philadelphia Inquirer

“Maureen McKay was beautiful in voice and appearance as Eurydice.”

Steve Cohen, Broad Street Review

Opera Theatre of St. Louis – Il re pastore

My favorable impression of Maureen McKay in last summer’s Una Cosa Rara was here confirmed with a securely sung Elisa, a maid who briefly enjoys enacting the longings of a noblewoman. Miss McKay is capable of regaling us with accurate cascades of fioritura, likewise deploying her crystal clear tone in melting legato phrases. Her spunky stage savvy is equally bewitching.”

James Sohre, Opera Today

“Maureen McKay’s Elisa was a delight, singing with a creamy voice, easy production and unstrained high range and coloratura.”

Sarah Bryan Miller, St. Louis Post-Dispatch