"[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."
"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."
“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.”
“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!)”
“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.”