"Madeleine Pierard and Nicky Spence romped through “Happy we” from Acis and Galatea and Britten’s Soldier won’t you marry me? Spence even removed his shoes and other garments to illustrate the Britten. Both performers have an easy platform manner and excellent voices which bode well for their careers both in concert and on the stage."
(Young Singers Welfare Foundation Gala, Wigmore Hall)
Sebastian Petit, Opera Britannica, 4 April 2010
"Conducted by James Judd, the performance is very grand, intense, at times genuinely ecstatic, and there are fine contributions from soprano Madeleine Pierard as a feisty Klärchen. The filler is the concert aria Ah! Perfido, which Pierard sings with extraordinary elegance and piercing clarity of tone."
(Beethoven Ah, Perfido! Op. 65 and Egmont Lieder Op. 84, Recorded for Naxos with the NZSO/James Judd)
4/5 stars in The Guardian, UK, 11 February 2010
"..from New Zealand, but trained in the UK, Madeleine Pierard has the power and command to do battle with the New Zealand Symphony in the pungent moments of the songs, the more relaxed passages displaying a voice of considerable beauty."
(Lyell Cresswell 'Cassandra's Songs' and 'The Voice Inside' recorded for Naxos with the NZSO/James Judd)
David Denton, Naxos.com, December 2009
"Here was a star, not just in the making, but made. In the strange artificiality of Handelian belcanto, she brought an electrifying dramatic sense, utter security, agility and brilliance. ...In Rossini’s famous Semiramide aria, ‘Bel raggio lusighier’, she demonstrated a virtuosity that I would risk saying might be unmatched by any other New Zealand singer."
(NZ Opera Society Gala Concert with Bruce Greenfield)
Lindis Taylor, 10 December 2008
"Of the four soloists, Madeleine Pierard stood out with beautiful tone, focus and intonation, and her articulation of varied and brilliant ornamentation was breathtaking. Every one of her arias and recitatives would have been encored if this had been opera."
(Messiah with the Tudor Consort and VWO)
The Dominion Post, 5 December 2008
"Understandably the standout soloist was soprano Madeleine Pierard. Pure delight to listen to."
(Messiah with the Tudor Consort and VWO)
Capital Times, 10 December 2008
Each year, the November/December issue of Opera Now magazine includes a “Who’s hot?” feature, in which the international reviewers pick the best young talent they have spotted during the year. Madeleine is featured in this year's List:
"Madeleine Pierard, formerly a mezzo and now a soprano has a great future in castrato roles. Coloratura is her thing, and she has a way with da capos that certainly sounds like spontaneous musicianship'
(Atalanta for the London Handel Festival)
Opera Now Magazine, Nov/Dec Issue 2008
"In this area we already know how talented a musician, singer and actor <soprano> Madeleine Pierard has become. She confirmed this again in her hauntingly beautiful presentation of five of the Chants d'Auvergne by Canteloube. The contrasts between the songs were stunning, with superb characterisation and facial expression, coupled with impeccable diction and language quality."
(Canteloube with NZSO NYO and Jacques Lacombe),
Hawke's Bay Today, 01 September, 2008
"Madeleine Pierard exuded grace and authority in Canteloube's Chants d'Auvergne."
(Canteloube with NZSO NYO and Jacques Lacombe),
The NZ Herald, 01 September, 2008
"For many, the highly popular Songs of the Auvergne, arranged by Joseph Canteloube, would have been the highlight. The five chosen here were stunningly sung by perhaps the most gifted of our young singers, Madeleine Pierard. Hers is a large voice of real character, and the orchestra backed her with superbly idiomatic playing."
(Canteloube with NZSO NYO and Jacques Lacombe),
The Dominion Post, 29 August, 2008
"In this performance we heard New Zealander Madeleine Pierard: assured, confident, very convincing as a young man. She dealt with Meleagro’s complex arias splendidly, her voice rippling though the intricate settings with suppleness and purity of tone. The aria 'Tu solcasti il mare infido' must be among the most brilliant of Handel’s compositions. Pierard dazzled in it, yet the steady line of her ‘Care selve’ showed her equally at home in graceful music. Hearing her for the first time, I was very impressed and shall certainly look out for her. Justice asks for a fine future for her."
(Atalanta for the London Handel Festival),
Classical Source, 21 April 2008
"Sopranos Ruby Hughes and Madeleine Pierard bring Atalanta and Meleagro to palpitating life. Pierard's sound is the purest tempered steel.."
(Atalanta for the London Handel Festival),
The Independent, 28 April 2008
"Pierard as Meleagro was simply superb. Her stage presence was androgynously masculine and suitably gauche. Handel gives the character lots (and lots) of notes to sing and Pierard coped brilliantly. Not only did she sing the notes but she used Handel's complex vocal lines to convey real emotion. Pierard is a truly fine Handelian singer and I long to hear her in other roles."
(Atalanta for the London Handel Festival),
Robert Hugill: Music and Vision, 26 April, 2008
"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)