“Anne-Marie MacIntosh along with fellow Canadian Adler artist, Simone McIntosh, created the highlight of the evening with the “Barcarolle” duet from Les contes d’Hoffmann. MacIntosh’s limpid soprano merged elegantly with McIntosh’s richer, yet still transparent, mezzo-soprano in the plangent rise and fall of this entrancing duet.”
“Soon afterward, [Simone] McIntosh was joined by soprano Anne-Marie MacIntosh for the Barcarolle from Offenbach’s “Tales of Hoffmann,” whose crisp, perfectly tuned parallel melodies sent little thrills of delight into all the assembled automobiles.”
"Soprano Anne-Marie MacIntosh was engaging and proved to be every bit the anchor of the opera. Ms. MacIntosh has a seamless technique, attractive lyric timbre, and an admirable evenness through her extensive range."
“… soprano Anne-Marie MacIntosh sang both lyrically and passionately as Diana, providing a welcome through-line as the one character who does not change shape.”
“Starring in a variety of Kopernikan guises, spirit guides to archetypal immortals, sopranos Anne-Marie MacIntosh and Jonelle Sills joined by mezzo-soprano Krisztina Szabo soar singly and in ensembles, the latter partnering a decidedly plausible operatic hommage to Mozart’s Three Ladies … Appearing as his ersatz Queen of the Night, MacIntosh ignites a spectacular arsenal of explosive coloratura fireworks."
“Leads Anne-Marie MacIntosh (Juliette) and Adam Luther (Roméo) brought youthful vigor filled with tremendous vocal push and power—requisites for performing Gounod’s lyric masterpiece.”
“Her voice is certainly the right type for the role: high, fundamentally lyrical, and with a noticeable brilliance in the top register. Her flitting around the stage projected the elements that Juliet needs to show, and vocally she managed the famous waltz aria in the first act with French charm … this was a highly commendable performance, her portrayal of Juliet girlish and graceful, but also containing inner fire.”
“Soprano Anne-Marie MacIntosh displayed lovely timbre in her finely phrased rendition of Pamina’s “Ah, I feel.”
"MacIntosh plays up her exasperation as the long-suffering housemaid to a tee. Indeed, MacIntosh's performance earns a fair share of laughs. Her sing of the aria "Il vecchiotto cerca moglie" shows an intimacy and vulnerability that endears itself to the audience."
"MacIntosh's bell-like soprano was a breath of fresh air in this heavy, dark subject matter. She twinkled as the naïve young woman, unabashedly excited at the arrival of Prince Tarquinius.”
"A special highlight proved to be the now Toronto-based coloratura soprano Anne-Marie MacIntosh ... making an impressive Manitoba Opera debut ... This rising star made every minute of her relatively short stage time count, including delivering a riveting aria "L’ho perduta, me meschina" under a starry night sky."
“ . . . soprano Anne-Marie MacIntosh cast her own spell with her confident, controlled coloratura, effortlessly plucking out stratospheric notes seemingly from midair.”