“Mari Eriksmoen, as Mélisande, was fragile, wondering and beguiling. Her gentle soprano took on force in the love scene, only to become a whisper as she died.”

“With her complex, ringing soprano, Eriksmoen in particular sings a moving consolation for the bereaved, which Brahms places at the centre [of his Requiem].”

“Soprano Mari Eriksmoen embodies Marzelline with character while maintaining a youthful freshness. Her pure timbre reveals delicate high notes and a delightful vibrato, delivering an interpretation full of nuance, including in the strong opening duet with Jaquino, where her sharp diction and precise rhythm successfully translates her character’s frustrations.”

“Mari Eriksmoen is distinguished by an exquisite musicality, a radiant line of singing endowed with an even ethereal tone”

“Norwegian soprano Mari Eriksmoen presents a recital of arias by Handel and Mozart…and the focus, after all, is Mari Eriksmoen’s voice, it is superb. The natural grace of the light, agile and confident soprano, the cultivated declamation and fresh liveliness, but also the often moving empathy of her singing show an artist who fully convinces with a stylistically confident musicality.”

“With her precise and clear timbre, soprano Mari Eriksmoen firmly establishes her ability with this music. With great sensitivity and very flexible phrasing, her voice builds in ​“Ah no lasciarmi, no” at the mention of the departure of her lover and she finishes the aria beautifully at the top of her range. In ​“Ridente la calma”, she brings a more voluptuous tone, complementing the caressing bass.”

“Equally impressive is Mari Eriksmoen as Servilia. Technically perhaps the cleanest voice of the evening, excellently supported especially at the top of the range, and artistically at the highest level, Eriksmoen puts an explicit exclamation mark after her name! In her aria ​‘S’altro che lacrime,’ the Norwegian soprano sings so emphatically that crying does not help, but the audience was close to tears at this gorgeous vocal performance.”

“Soprano Eriksmoen is the heart and lifeblood of Waiting. Her voice is radiant; her performance, breathtaking.”

“Mari Eriksmoen is a Pamina who combines grace with determination, a pure voice but with strength, and a dancer’s elegance”

“The most magnificent in the cast was the Mélisande of Mari Eriksmoen, a lyrical soprano who sings with perfect clarity. With her lithe silhouette and Scandinavian looks, she fully embodies the fascinating heroine, at once fragile and extremely determined”

“Soprano Mari Eriksmoen is a clear-voiced Mélisande and perfectly portrays the exceptional nature of this almost extra-terrestrial character”

“In the role of Mélisande, the Norwegian soprano Mari Eriksmoen makes a resoundingly impressive debut at Opera Vlaanderen: her French diction was faultless, her voice like crystal, and she embodies the hypnotising fragility of this heroine to perfection.”

“Mari Eriksmoen has the agile freshness of Hanne [Haydn’s The Seasons], a pure voice sometimes reminiscent of a Gundula Janowitz.”

“Zerlina is the focus of the cast. Mari Eriksmoen sings the role with her clear, flexible and wonderfully coloured soprano”

“Mari Eriksmoen, with her bright and agile soprano, is an ideal Zerlina”

“Mari Eriksmoen is a suitably fearless Blonde.”

“[As La Fée], Mari Eriskmoen produces the most alluring, shimmering coloratura; pure magic.”

“Mari Eriksmoen was a Blonde to rival that of Lucia Popp in the old Josef Krips recording, the stage presence a continual source of vitality and the beauty of tone endlessly beguiling.”

“Mari Eriksmoen has a clear, agile soprano and light vibrato with which she spun fine pianos and gave a credible depiction of the caring, boisterous and naïve girl.”