"Harris was magnificent in Tatyana’s marathon scene where she writes a love letter to Onegin, her beautiful soprano taking her through full range of emotion.” —Dana Oland, Idaho Statesman, February 2015


“There was something special about soprano Marina Boudart Harris.  Her first appearance in the Mozart was in the “Laudamus te,” and I found myself appreciating her rich, listenable tone.  Then it struck me that she was singing the long piece from memory — and smiling during the rests.  That air of confidence and grace somehow made the listening so much more pleasant.  And then there were the many vocal flourishes which she handled so adroitly.  During one of these I caught Kendrick glancing at her and smiling, appreciating her command of the music that they both obviously loved.” Dick Frantzreb, The Sacramento Choral Calendar, March 2015


“Soprano Marina Harris (sic) gave an amazingly finished and delicate performance of Lohengrin’s ‘Einsam in trüben Tagen’.” –Brian Kellow, Opera News, April 2014


“Adding to the majesty of the performance were the four singers who sang the solo parts of the work. Of these, soprano Marina Boudart Harris and tenor Matthew Edwardsen were most impressive…Here again the talents of Ms. Harris as soprano and Mr. Edwardsen as tenor were outstanding.” – E. Haig, Sacramento Gazette, Mar. 14, 2014


“Harris added her golden voice to the harmonious men and helped them bring a traditional carol medley, “With Harps of Gold,” to new levels. This new-generation star easily validated why SF Opera has used her in many productions this year, including world premieres of The Secret Garden, The Gospel of Mary Magdalene and Dolores Claiborne. Her second act solo on “A New Christmas Morning Hallelujah,” a spiritual folk song, exhibited both her velvety flair and dynamic tone. Add to my Christmas List the wish for a Marina Harris Christmas Recital next year.” –Chuck Louden, stageandcinema.com, Dec. 13, 2013


“Here, again, Harris could capture the imagery of the words based only on a brief verbal introduction and without written accounts of the texts in either German or English translation… Harris had no trouble shedding any trace of inhibition with a command of diction that made sure that the listener did not miss the slightest detail in Savage’s vivid text.” –Stephen Smoliar, San Francisco Examiner, Dec. 5, 2013


“Yet the afternoon's most arresting contributions came from soprano Marina Harris - first Ellen Orford's "Embroidery" aria from "Peter Grimes" and then Elisabeth's "Dich, teure Halle" from "Tannhäuser," both of them delivered with a knockout combination of vocal power and expressive eloquence.” –Joshua Kosman, San Francisco Chronicle, 2013


“Baritone Ao Li, a third-year Adler Fellow with the San Francisco Opera, made a robust and radiant soloist with a heroic timbre in the third and sixth movements of the Requiem, while soprano Marina Harris, a second-year Adler Fellow, sang her fifth movement solo, “Ihr habt nun Traurigkeit,” with velvety conviction, her melody gently rising from the creamy chords in the orchestra.” –Niels Swinkels, San Francisco Classical Voice, 2013


“Bass James Creswell was a robust Pharisee, and Marina Harris made the most of her brief appearance as an aptly venomous Tamar.” Georgia Rowe, Opera News, September 2013


“Soprano Marina Harris and mezzo-soprano Laura Krumm opened with a lovely rendition of ‘Ah guarda sorella’ from Mozart's ‘Così fan tutte,’ and Harris concluded the first half with a wrenching and handsomely shaped account of the Letter Scene from Tchaikovsky's ‘Eugene Onegin.’” –Joshua Kosman, San Francisco Chronicle, 2012


“But the evening's high point came in soprano Marina Boudart Harris' arching, emotionally urgent solo as Laura's former lover, Samantha. It's a wonderful evocation of true love, with all its exhilaration and heartache, and Boudart Harris sang it radiantly.” Joshua Kosman, San Francisco Chronicle, 2012


“Harris went on Saturday to give one of Merola Grand Finale’s most memorable performances, a consistent, elegant Arabella, conveying Richard Strauss’ complex, ultraromantic music with purity, without ego. Supported well by John Maynard’s Mandryka, Harris made her mark.” Janos Gereben, San Francisco Classical Voice, 2011


“…The glamour of her voice in the aching, soaring Straussian phrases of Arabella’s “Das war sehr gut Mandryka,” to the Mandryka of baritone John Maynard, 32, showed great promise.” –Jason Victor Serinus, San Francisco Classical Voice, 2011