Opera Lyra

Barber of Seville

"Maghan McPhee a immédiatement soufflé le public lors de son bref mais remarquable solo, dans la peau de Berta la femme de ménage et fine observatrice de ce qui se trame."
Maghan McPhee immediately blew the audience during his brief but remarkable solo in skin Berta the housekeeper and keen observer of what is happening.
- Le Droit

Opera Lyra's Commercial for Barber

CD Reviews

"Few composers can boast more refinement in their music than Ravel... listen to McPhee's exquisite account of the Cinq mélodies populaires grecques."
- Wolfgang's Tonic, Richard Todd

"[Maghan has] full command of her instrument, precise in her attacks, and stylish in her approach to the songs...
McPhee sounds (again) totally fluid in French, floating the notes without any noticeable sense of effort. ...
Der Hirt auf dem Felsen is an ambitious piece from Schubert intended to show off a virtuoso voice accompanied by piano and clarinet. The vocal line soars as if through the wild mountainous terrain, arpeggiating and jumping full octaves and more."

- Leslie Barcza

PORTRAIT paints a picture of Maghan McPhee's musical identity. It encompasses a variety of styles from classical to contemporary. Feeling at home in many styles of classical music she is primarily driven by texts that resonate with her. For her first CD, she chose to highlight a variety of art song treasures from Mozart's lieder collection, to Gian Carlo Menotti's very personal Five Songs, with texts written by Menotti himself. Other gems include rarely performed melodies by Jules Massenet and Ravel's famous Cinq chansons populaires grecque.

National Arts Centre

Messiah

Interview on CTV Morning Live

click to go to the interview

A Midsummer Night's Dream

"Soprano Maghan McPhee and Mezzo Wallis Giunta, emerging Canadians, acquitted themselves brilliantly. Both have voices which are strong, technically solid and project well, and both showed genuine dramatic artistry."
- Concert.net

Tapestry New Opera

Shelter

"Maghan McPhee was a combination of innocence and vocal surety in the musically difficult part of Hope."
- Edmonton Journal, Mark Morris