“Marguerite Krull, fulfilled all the expectations evoked by a bio that includes a global roster of early-music appearances. Krull and the Tempesta di Mare musicians produced an unbroken intensity that turned Medea’s rage into a non-stop 18th-century ride of the Valkyries.” — Read more at Broad Street Review.
“Marguerite Krull was effective in the thankless trouser role of Arbace, Marzia’s would-be lover. (Don’t you hate it when a Caesar gets in your way?) Eric Jurenas, another powerful and pliant countertenor, sang Fulvio, Caesar’s aide.” – Read more at nytimes.com.
“Eric Jurenas returned as Fulvio with an even stronger voice and more beautiful tone…His voice was smooth, his stage presence poised, and his acting some of the most focused in the evening…Krull made a sympathetic Arbace and brought a beautiful warm sound to the pants role.” – Read more at dctheatrescene.com
“Eric Jurenas and Marguerite Krull round out this wonderful ensemble of six. As Fluvio, Jurenas captures the character’s somewhat ambiguous loyalty to Caesar, while Krull gives Arbace and his relentless pursuit of Marzia’s hand in marriage a vivid, light-hearted touch.” – Read more at dcmetrotheaterarts.com
“When everyone joined together — musicians, singers, dancers — it proved, yet again, that you didn’t need a movie screen to make a blockbuster.” – Read more
“Marguerite Krull was superb as the goddess Calliope, handling the long melismas with grace and ease.” Read more here.
“The air for soprano “Gentle Morpheus, son of night,” with its lulling string accompaniment underneath a melody that dips and rises peacefully, is among the most beautiful Handel wrote. The soprano Marguerite Krull gave it a clean and fluent rendition.” Read more here.
“Krull’s music contains the score’s most stunning aria, “Gentle Morpheus, son of night.” The naturalness with which she dispatched roulades, drawing no attention to herself yet riveting everyone’s attention on the unfolding drama, gave the impression she has inhabited these arias before. Loveliest moment: four descending trills on the words “balmy dew of sleep.” Read […]
“Krull’s middle voice was radiant and lush; this was particularly apparent during her wonderful aria “Gentle Morpheus, son of night” where she sang with gentle legato lines. Her coloratura in the second aria “Come, Fancy, empress of the brain” featured solid coloratura passagework that was filled with nuance.” Read more here.