"Mariya Kaganskaya was perfectly cast as Auntie Malka, with her rich mezzo-soprano voice and portrayal of mature wisdom."
"Mezzo-soprano Mariya Kaganskaya excelled in the dual roles of haughty Mrs. Rockefeller and fed-up Natalia Trotsky."
"Mariya Kaganskaya se ganó sus aplausos como Mrs. Rockefeller y Natalia Trotsky."
"Mezzo soprano Mariya Kaganskaya does a wonderful job as Cherubino with her impish smile and on stage athleticism."
"[The Count's] frustration at never getting the better of Cherubino is hilarious, as is Mariya Kaganskaya’s portrayal in the pants-role of the sex-crazed page, her breathless ‘Non so più’ and the lyrical ‘Voi che sapete’ both excellent."
"Russian mezzo Mariya Kaganskaya [...] was a fine Paula. [...] Kaganskaya was persuasively stunned by the apparent loss of Alvaro in the storm, and her singing voice has a firmness and strength to it that was well-suited for Paula."
"Kaganskaya brought a full and vibrant mezzo to the stage [...] Kaganskaya delivered her aria with heartfelt believability."
"As the quarreling married couple, Paula and Álvaro, the mezzo-soprano Mariya Kaganskaya and baritone William Lee Bryan, brought out the pathos, pain and disillusionment that their harsh words represented. Late in the opera, when Paula thinks Álvaro has died in a storm, Kaganskaya’s [sic.] sang with solemn passion and luminous tones over eerie orchestral dissonances."
“The Herodias (Elizabeth Bishop), Page (Mariya Kaganskaya), Jews and Nazarenes were all excellent.”
“... mezzo-soprano Mariya Kaganskaya enacted competently the Page in love with Narraboth.”
“Mariya Kaganskaya showed a sizable mezzo as Herodias's Page.”
“Mariya Kaganskaya […] showcased her luscious tone as a Teacher lecturing on the importance of the ensō during Jobs’ brief stint at the Reed College.”
“Smaller roles were admirably conveyed by […] mezzo-soprano Mariya Kaganskaya (as a calligraphy teacher)…”
“Mezzo-soprano Mariya Kaganskaya was an ambivalent but willing Dorabella, succumbing to the seductive blandishments of a very persuasive Joseph Lattanzi. Both have voices we would describe as creamy-dreamy.”
“Katrina Galka and Mariya Kaganskaya as Clorinda and Tisbe, Angelina’s stepsisters, as well as Stefano de Peppo as their father, Don Magnifico, dove wholeheartedly into the comedy of their characters.”
“Galka’s Clorinda and Mariya Kaganskaya’s Tisbe kept the laughs coming.”
“[T]he soloists didn’t hold back, launching full throttle into the performance, pouring the emotion of each song out through their posture, expressions, and voices.”
“Her warm mezzo tones definitely captured the rhetoric of the English text, and I must confess an inability to say whether she was equally attentive to the Russian portion. (I have every reason to believe she was!)”
“Mezzo-soprano Mariya Kaganskaya made a fine Innkeeper with a lovely voice and stage presence.”
- Meche Kroop, Voce di meche, August 2016
“… Mariya Kaganskaya […] delighted the crowd with a pathos-filled delivery of “L’amour est un oiseau rebelle” from Bizet’s Carmen.”
- Yoshi Kato, downbeat.com, April 2016
“… Kaganskaya was focused as Iolanta’s caretaker, Marta.”
“A gala concert featured impressive, mature performances by […] mezzo Mariya Kaganskaya, top winner in the ages 19-25 category…”
“The singing from Crystal Kim, Mariya Kaganskaya, and Andres Ramirez was exquisite, the complex nature of their characters’ situations made all the more palpable by the very youth of the singers themselves.”
“Mezzo Mariya Kaganskaya’s lordly Mme. Pernelle fluted away like some magnificently plumed bird.”
“Several longer numbers were especially effective. Kaganskaya shone in her sometimes fatuous, sometimes scolding praise of Tartuffe.”