Marlena Devoe


Marlena Devoe

Adina: L’elisir d’amore / Verbier Festival

“Marlena Devoe looked almost Ava-Gardner-like as Adina and produced a linear, seraphic sound that went excitingly into overdrive above the stave.”



Lucia di Lammermoor / Auckland Opera Studio

“Devoe is fresh from winning the Joan Sutherland and Richard Bonynge Bel Canto Awards in Sydney and she certainly demonstrated her natural aptitude for bel canto style here. “Regnaza nel silenzio” showed off her ability to sculpt a long phrase and the ensuing cabaletta gave us some nigh-perfect passagework. Devoe's is a pleasing lyric soprano that gains in amplitude as it gets higher; the final high phrases of “Quando rapita” were as magnificently gleaming and immaculately poised as any I've heard...“



“Marlena Devoe, fearless in her coloratura, was an affecting Lucia.”

New Zealand Herald


Mimì: La bohème / Lyric Opera, Dublin

“Samoan-born Marlena Devoe presents the fragile figure of the consumptive heroine with positive conviction. Her clear soprano range may be delicately expressive but it also shows a depth of purpose when need be.”

Irish Independent


“The team of admirable young singers was headed by the excellent Marlena Devoe, a New Zealand winner of the Joan Sutherland and Richard Bonynge Bel Canto Award. She proved a most appealing Mimì…”



Mimi: La bohème / New Zealand Opera

“Devoe’s Mimì was sweet and appealing in character but with a surprisingly large and rich voice that luxuriated in Puccini’s soaring vocal lines. There was an almost-dramatic soprano richness, particularly in the higher register, to the extent that her great third-act plea to Marcello had an extra vivid tragic effect. Some veristic sobs and dives into chest register in this scene made Mimì a more compelling, rounded character than many others do. The many remembrances of phrases past that pervade the final act were taken with a ravishingly soft thread of tone as death approached.”



”Thomas Atkins and Marlena Devoe are memorable as the doomed Rodolfo and Mimi, from their first heart-stopping encounter to Devoe's moving death scene.“

New Zealand Herald


“Marlena Devoe’s Mimì was a rich and developed character and her singing was moving and, equally importantly, her acting was convincing.”

Radio New Zealand


Mimì: La bohème / Tait Winter Prom

“Her rich melodic tone, never strained, always fluid and focussed, wrapped its way around the hearts and ears of an attentive audience.”



Lauretta: Gianni Schicchi / Singapore Lyric Opera

“…Marlena Devoe, whose ‘O mio babbino caro’ was deliciously heartfelt and luscious.”

Flying Inkpot


Violetta: La traviata / Clonter Opera

“The key figure, of course, is Violetta, and in Marlena Devoe we have a real star. The show is worth seeing for her alone. Born in New Zealand, the Samoan soprano is absolutely spellbinding from her first entrance, when she advances slowly towards us, like a beautiful model on a walkway. As she comes to a halt, various men, one by one, approach and touch her. She is, after all, a sexy courtesan. Devoe has a real stage presence and a gloriously soaring voice. She seems to deal with the high register and coloratura passages of the heartwarming arias effortlessly and confidently. She is also a consummate “actor, covering the range from flirtatious to despairing. Compelling and convincing.”

Manchester Theatre Awards