Guido Müller in Klassik begeistert, 4.3.2020 on “In der Sache Makropulos” at
the Anhaltisches Theater Dessau.

“Cornelia Marschall gives Krista a particularly attractive vocal and acting
presence, ultimately taking on Emilia Marty as both admirer and competitor.”

Andreas Behling Zerbster Volksstimme 10.10.2019 on the concert evening
“Liebeslieder” at the Anhaltisches Theater Dessau.

“Cornelia Marschall proves to be a master of colerature in the role of
Konstanze (“Ach ich liebte” from Mozart’s opera “Die Entführung aus dem

Roland H. Double Concerti 10/29/2018 on Freischütz

“Cornelia Marschall goes from mercurial pick-me-up to supervisor for Agathe.
Her solos reveal much more about Agathe than about Ännchen herself. The
women are vocally almost similar: Cornelia Marschall with her power tones
pointing toward the youthful dramatic fach…”

Dr. Dieter David Scholz MDR Kultur 28.4. 2018 on Love for Three Oranges

“… but also Cornelia Marschall(Ninetta) make up a real luxury cast that is
worth listening to!

Andreas Behling Zerbster Volksstimme 20.3.2018 to Ulysses

“Cornelia Marschall, meanwhile, slipped into the roles of KirkeAthena and
Penelope, bringing her pure soprano to bear splendidly time and again.”

Franziska Olschewski, Mitteldeutsche Zeitung, 16.05.2017 on “The man who
mistook his wife for a hat.”

So it is the tones and sounds that help Dr. P to cope with the things of
everyday life together with his wife, excellently played by Cornelia
Marschall. … Cornelia Marschall shines as wife and compassionate, d…

Albrecht Thiemann Opernwelt January 2017 on Hansel and Gretel

“… The brother and sister embodied by Rita Kapfhammer and Cornelia
Marschall, delightfully naive, agile, with a sure sense of style they
trickle the witch’s artful folk song tone into the ear.”

Joachim Lange Mitteldeutsche Zeitung 7.11.2016 on Hansel and Gretel

” Here an ensemble is mustered that could not have been better assembled
even at larger houses!

A brother and sister singing so beguilingly and clearly as Rita Kapfhammer
and Cornelia Marschall as Gretel is one of the vocal strokes of luck in the
opera year. On top of that, the two play it light on their feet.”

Christoph Suhre, DER NEUE MERKER 08+09/2013 on “L’Elisir D’Amore”:

The young and rich Adina is in the best hands with Cornelia Marschall.
Carefree and effortless she warbles her coloratura. With her charm she knows
how to turn men’s heads and when nothing should work at all, she commands
attention with a lingerie line on which she presents a veritable collection
of lingerie (all in bright red).

Winterthur January 2012 to La Bohème:

Cornelia Marschall joins the cast as Musetta. She sets the stage
magnificently with her sparkling waltz performance, and with Marcello she
makes a furious quarreling couple,…

Oliver Hohlbad,, November 2011 about La Bohème

Cornelia Marschall creates the role of Musetta impressively. Lust for life
and desires are believably portrayed vocally, thus enhancing the role of
Musetta as Mimi’s character counterpart.

Alexander Hauer, Der Opernfreund, 30.09.2011 about West Side Story

First and foremost Tony and Maria, David Ameln sings this young person with
heartfelt intensity, Cornelia Marschall is his equal in expression and
exactness. Together you believe they could unhinge the world, their love
scenes have so nothing artificial, a simple naturalness that connects both.

Vanessa Weiss, Da Capo No. 66 Dec 2012/Jan 2013: West Side Story

…but also to the two main actors, whose harmonious interplay contributes a
considerable part.

This is also the case with the languorous song “Tonight,” in which both
complement each other very well, both in acting and singing, and thus do
justice to the song

Alexander Hauer, The Opera Lover, Nov. 15, 2012:

Cornelia Marshall’s Valencienne is quite an enchanting fruit. With lyrical
soprano, dancing (high) talent and utterly unsubtle eroticism

Volksstimme of June 21, 2010: Masked ball

In her role as Page Oscar Cornelia Marschall trumped powerfully and
refreshingly – a bit Mephisto, the strings always in her hand and always
seeing through.

Mitteldeutsche Zeitung from June 21, 2010: Masked ball

Cornelia Marschall is mainly responsible for this as the bravura master of
ceremonies of the dance of death, who can turn every word into a volte and
every gesture into a joke – …

Mitteldeutsche Zeitung, March 29, 2010:

For the sixth part alone, the “Vidit suum,” it would have been worth
standing up. Between angry sharp sound and insistently smooth pianissimo,
Cornelia Marschal described excessive lament and silent mourning – within
three lines of verse, hats off. … with an intensity in the accuracy of the
text, which made the audience freeze, directly touching the heart …

Neue Züricher Zeitung of January 26, 2010: Mourning Angel, “Fidelio” in

“…, eagerly awaited by Marzelline, to whom Cornelia Marschall lends her
clear-drawing, sonorous soprano.”

Mitteldeutsche Zeitung of October 29, 2009: Grigori Frid’s “Diary of Anne
Frank”, Anhaltisches Theater Dessau

“…with the ideally cast Cornelia Marschall one experiences a singer who
combines many colors and faces: Cornelia Marschall can be a high-spirited
child and an adult lover, she parodies and caricatures her fellow human
beings or dreams lost in thought under the window sky.

That Stefan Neubert accompanies her reassuringly and alarmingly, but never
merely illustratively, through this feat of strength, mastered both vocally
and in terms of acting, without them having visual contact, is admirable.”

Der Neue Merker 06/2009: Engelbert Humperdinck’s “Hansel and Gretel”,
Anhaltisches Theater Dessau

“…Very pleasing with generally best text comprehensibility the
performances of the protagonists. Sabine Noack (Hänsel) and Cornelia
Marschall (Gretel) are full of playfulness and wit and harmonize also
vocally wonderfully.”

Opernwelt | may 2009: Benjamin Britten’s “The Turn of the Screw”,
Anhaltisches Theater Dessau

“…This has strong moments: for instance when the warm-hearted, touching
Governante Cornelia Marschalls unbuttons her high-necked flannel dress and
caresses her own body in a timid desire for closeness, or when she recoils
from the clumsy physical familiarity of the housekeeper Mrs. Groose.”

Der Neue Merker 04/2009: Benjamin Britten’s “The Turn of the Screw,”
Anhaltisches Theater Dessau.

“…The leading role of the governess was played by Cornelia Marschall, who
put herself unbelievably deeply into this person and whom one really
believed the growing fear and the increasing doubts.”

Deutschlandfunk Studiozeit – Musikjournal from 03/16/2009: Benjamin
Britten’s “The Turn of the Screw,” Anhaltisches Theater Dessau

“…Without a doubt, soprano Cornelia Marschall as the nameless Gounvernante
is the powerhouse of the evening. She resists the impositions of the boy

who challenges her again and again, but ultimately loses the battle against
her own demons. …”

Mitteldeutsche Zeitung of 03/17/2009: Benjamin Britten’s “The Turn of the
Screw”, Anhaltisches Theater Dessau

“…Indeed, at the end of this exhausting evening, soprano Cornelia
Marschall still has the strength for a desperately glowing piano, letting
the intimacy of her

central role escalate in the final breakdown…”

February 2009: DVD Hänsel & Gretel,
Anhaltisches Theater Dessau

“…Especially the rapport between Sabine Noack’s Hänsel and Cornelia
Marschall’s Gretel is truly congenial. One believes in them. Both are also
excellent singers. …” from 10.01.2009:
DVD Hänsel & Gretel at the Anhaltisches Theater Dessau

“…Clearly positive are also the casts of the individual roles, which are
convincing in terms of their acting as well as their singing.

and among them Cornelia Marschall as Gretel stands out especially. …”

Geiseltal-Echo from 11/3/2008: Opera Ball, Anhaltisches Theater Dessau

“…Watching and listening to Cornelia Marschall’s parlor maid Hortense was,
after all, pure pleasure. …”

Mitteldeutsche Zeitung from 03/26/2008: The King and I, Anhaltisches Theater

“…characterized by powerfully expressive acting and equally effective
singing, Anna Leonowens experienced through Cornelia Marschalls consistent

sensitive portrayal. …”

Mitteldeutsche Zeitung from 23.10.2007: Hansel and Gretel, Anhaltisches
Theater Dessau

“…Sabine Noack’s Hansel is just as believable a character as Cornelia
Marschall’s seemingly childlike but in reality more mature Gretel. That both

also harmonize perfectly vocally, makes them the ideal cast for
Felsenstein’s intentions. …”

MDR Figaro from 22.10.2007: Hansel and Gretel, Anhaltisches Theater Dessau

“…very, very good the Gretel Cornelia Marschall,… musically one will be
very happy on this evening…”

Mitteldeutsche Zeitung from 14.05.2007: Zarewitsch, Anhaltisches Theater

“…Cornelia Marschall and Christoph Rosenbaum as Mascha and Ivan, a vocally
as well as erotically lively Buffalo couple. …

Der Neue Merker, issue 01/2007: Cendrillon, Konzerthaus Berlin

“…The vocally quite demanding parts are mostly mastered very sovereignly.
In the first place Cornelia Marschall must be mentioned here.

who does not owe anything to the title role and becomes the special
sympathetic bearer of the performance, not only for the children…”

Zerbster Volksstimme, 12/21/2006: Magic Flute, Anhaltisches Theater Dessau

“…As Pamina, Cornelia Marschall was a gently loving, heart-moving, also
desperate young woman singing with lyrical charisma. …”

Dithmarsche Landeszeitung from 07/31/2003: 7th International Summer Concert

“…The voice of Cornelia Marschall … is in an astounding measure of
change. The timbre of black jazz singers is in her as well as the gallantry
of a vocal diva of the late baroque, who knows how to bring an aria …
dramatically and with all melting. This

voice remains clear and expressive even in high ranges, and it has the power
to hold its own alongside the organ and the horn…”

Händel-Hausmitteilungen, Issue 2/2002: Otto in the Magdeburg Monastery

“… Of the ladies, all of whom were convincing performers, Cornelia
Marschall as Theophane must be mentioned in the first place. She possesses a

of that stylistic refinement and flexibility which a baroque opera demands.
Straight lyricism, stung coloratura and dramatic color she successfully
tries to make audible. …Her character wanders in the trajectories of the
despairing, so that her right to the old operatic title is alluded to. …”

Mitteldeutsche Zeitung from 08/20/2001: Otto in the Magdeburg monastery

“… Only one actress was from the beginning on a lonely height and remained
from now on unattainable: Cornelia Marschall asserted herself as Theophane
exactly because the direction, trusting in her sovereignty, could expect her
to show ambivalent feelings even in unambiguous arias. Here seemed

– as fulfillment of a wish – even the return after suicide seemed credible.”

Das Opernglas, issue 4/2000: The Coronation of Poppea, February 26,
Kammertheater Halle

“… Finely led and as clear as a bell is the soprano of Drusilla by
Cornelia Marschall, a name to remember. …”

Opera/London: Coronation of Poppea, 26.02.2000, Kammertheater Halle

“…delightful CORNELIA MARSCHALL as Drusilla with beautiful lyrical