"As the young love sick Marzelline Madeleine Pierard brought a beautifully nuanced voice which contrasted well with that of Erika Sunnergardh’s Leonora. With her gestures and deportment, she gave the part an effervescent energy and vivacity."

(Fidelio with APO, NZ Opera), NZ Business Review, 17 August, 2007

"Madeleine Pierard, a young New Zealand singer, stood out as Marzelline with her bright soprano voice leading the first act quartet most beautifully."

(Fidelio with APO, NZ Opera), The Opera Critic, 13 August, 2007

"Adrian Strooper and Madeleine Pierard bantered fetchingly as Jacquino and Marzelline in their opening duet. Pierard was exquisitely focused in her first aria and gave a lustrous launch for the ensuing quartet."

(Fidelio with APO, NZ Opera), NZ Herald, 13 August, 2007

"Madeleine Pierard (soprano) was technically fine and handled dramatic aspects with accomplishment, her Libera Me delivered with a depth of passion."

(Verdi Requiem with South Holland Singers), Spalding Guardian, UK, 24 May, 2007

"<Mezzo Madeleine Pierard's> voice is beautiful and her singing full of emotional subtlety"

(Erissena in Poro for the London Handel Festival), London Metro, 26 March 2007

"Pierard's performance, so poised and mature, <revealed> a warm, steady, beautifully focused voice...Nothing discomforted her. In short, here was a musical and personal maturity that will turn heads at the Royal College and beyond."

(Respighi's Il Tramonto with the NZSQ), Dominion Post, 19 August 2006

"Madeleine Pierard...is a singer with acute perception and musicianship. Her voice is elegant and even-toned throughout its unusually large range. She also has the valuable ability to understand, interpret and project a difficult new score with conviction, and to carry the audience with her."

(Symphony No 2 by Ross Harris with the APO) NZ Listener, 17 June 2006

"The mezzo illuminated O'Sullivan's often chilling critique of the senselessness of war. Unfazed by the tumultuous orchestra shifts around her, she held the audience in thrall until her final top C from off-stage."

(Symphony No 2 by Ross Harris with the APO) NZ Herald, 5 June 2006

Madeleine was featured in a detailed (and rather personal!) article in the June edition of the North and South magazine in New Zealand.

(Click here to read the full article by Jane Tolerton)

'Pierard sang efforlessly, her voice captuing the work's melancholic romanticism tinged with cynicism...Her statuesque appearance and an ablility to sing with organlike power as well as birdsong sweetness impressed."

(Respighi Il Tramonto with the NZSQ) National Business Review, 26 May 2006

"<Madeleine> sang with great confidence, secure technique and a beauty of tone that belied her age and experience."

(Mozart Alleluia from Exsultate Jubilate and Laudate Dominum) Dominion Post, 15 April 2006

"The flower maidens were particularly expert and Madeleine Pierard again underlined her credentials as a star of the future"

(As First Flower Maiden in Wagner's Parsifal) Scoop Press Release, 18 March 2006

"The highlight <was> Lexus prize winner Madeleine Pierard's singing of the Aria and Cabaletta from Act 1 of Stravinsky's The Rake's Progress... Pierard's confident accuracy belied her age and experience"

(NZSM Orchestral Showcase Review) Dominion Post, 23 September 2005

"Lexus Song Quest winner soprano Madeleine Pierard is a most intelligent singer with impeccable tone and diction. She utilises all of her vocal skills to give an involvingly seductive performance of emotional power and beauty."

(Ocean Beach by Thomas Goss with 'Felix the Quartet') Capital Times 22 June 2005

"Pierard made an impression not only with her voice…She showed an ability to have a genuine conversation with the music, particularly apparent in her singing with the NZSO where she engaged with the music in a sensitive and intelligent manner."

(Lexus Song Quest) National Business Review, 2 May 2005

"Madeleine Pierard was vocally and dramatically riveting."

Opera News review of The Daughters of the Late Colonel, May 2005

"Both [Pierard's] arias...reflected a warm timbre, accuracy and agility, and lively projection to the audience which brought the house down."

(Lexus Song Quest) Dominion Post, 30 April 2005

"Madeleine Pierard did have an edge on her fellow singers…[with a] confident, well-articulated Mozart (the fiery Parto, parto) and an Una voce poco fa that balanced flash and elegance in perfect proportions."

(Lexus Song Quest) New Zealand Herald, 30 April 2005
(read full article)