“The best singer in this international team is by far the mezzo-soprano Mariana Rewerski as the Empress Octavia. She stands out as the real tragic figure, whose poetic intensity is breathtaking. Mariana Rewerski impressed by her perfect articulation and accuracy to deal with the recitar cantando“.
Eduardo Arnosi
“As for the third of the main figures, it is in excellent hands: the Octavia of the South American mezzo Mariana Rewerski reveals a determination, a care for the stage word and a theatrical poise that make his “Addio Roma” practically perfect”.
Rino Alessi
“The Werther offered by the Teatro Colon at the Teatro Coliseo will linger in the memory for the vocal and dramatic excellence of the leading singers. Mariana Rewerski was a captivating Charlotte, exquisitely feminine in her appearance, but also nobly touching in her singing”.
(Opéra de Lyon, Francia)
Eleonore Büning
“The great Octavia by Mariana Rewerski, taken to the extreme of a true abyss of humanity that we hope to see again soon”. (Opéra de Lyon, Francia)
Benoit Berger
“…El rol principal ha sido interpretado por Mariana Rewerski con gracia y seguridad, afinación exacta y coloraturas brillantes. También fue ella quien en la escena siete del primer acto creó uno de los puntos fuertes de la noche, “Cara sposa, amante cara, dove sei?’ Rewerski comenzó tiernamente su lamento y a cada repetición del tema nos ha ofrecido una versión más rica en emoción y en desarrollo psicológico de su personaje. Todo este “descenso” virtual, una autopsia emocional que solo es soportable gracias a la belleza de esta interpretación, la voz de Mariana Rewerski temblaba de ternura hasta hacer rogar silenciosamente al espectador para que este momento no se termine…”. (Teatro Nacional de Praga)
Petr Fisher
“A pleasant surprise for the listeners was Mariana Rewerski as Rinaldo, as her voice fits the role perfectly. Rinaldo came, sang and won (on stage and figuratively”.
M. Gruhl
“The Argentine mezzo-soprano Mariana Rewerski, in the title role, moved gracefully from the pure vocal interpretation of concerts to a theatrical performance which highlights, without excess, the sensuality of the character – a metaphor for tango”. (Piazzola’s Maria de Buenos Aires).
Florence Michel
“In the field of mezzo-soprano, a relatively short deadline for the Argentine Mariana Rewerski to replace Marianna Pizzolato in the enamored Pippo. Warm tone and uniform register. A nice and interesting point about this Rossinian discovery”. (Rosssini’s Wildbad Festival)
Udo Klebes
“The main role has been played by Mariana Rewerski with grace and confidence, exact pitch and brilliant coloraturas. It was also she who created one of the strong points of the night, ‘Cara sposa, cara lover, dove sei?’ Rewerski tenderly began her lament and with each repetition of the theme she has offered us a richer version in emotion and psychological development of his character. All this virtual “descent”, an emotional autopsy that is only bearable thanks to the beauty of this interpretation, Mariana Rewerski’s voice trembled with tenderness until making the viewer silently pray that this moment does not end…”. (Prague State Theatre)
Petr Fisher