“… everyone seemed more confident, especially the soprano Deborah Voigt, who has been singing Marie for the first time in this run at the Met; she gives a vulnerable, intense portrayal of a role that suits her well.” - Anthony Tommassini

“Deborah Voigt was at the top of her game as Marie. Her voice peaked with thrilling high notes and her middle range created a lush and sensual effect. She managed to express Marie’s dream-like qualities but was also unafraid of exposing her ugly savage demeanor. This was most apparent during the Act 1 confrontation with the Drum Major. She clawed at him and her voice took on a sharp, rugged complexion. Her treatment of the child was also rather ambiguous. She managed to create tender legati as she sung him to sleep, but was quite violent vocally and physically as she told him to fall back asleep. Her death scene was another touchstone moment; her eyes filled with tremendous pain as she fell to the ground.” - David Salazar

“Singing her first Marie, Voigt was in fine form, shifting seamlessly across a wide range of styles, from powerful declamation to Sprechgesang and Sprechstimme, and from lyrically melodious to harsh and dissonant. Her portrait of Marie’s multifaceted character was touching in her love for her child and concern for Wozzeck, hostile toward her neighbor Margret, and lustful and seductive in her encounter with the Drum Major.” - David M Rice