Tebaldo in Don Carlo with Wiener Staatsoper
Als Tebaldo liefert Margaret Plummer eine Talentprobe
Three of the smaller roles were filled by very promising young voices, Austrialia Opera Foundation winner Margaret Plummer sang a very solid and self-assured Tebaldo,
Neu dabei auch Margret Plummer als Tebaldo. Sie hatte als Stipendiatin der “Opera Foundation Australia” ihr Hausdebüt. Sie zeigte eine gute tragfähige Stimme, und spielte ihre kleine Rolle sehr sicher.
Anton in Pünktchen und Anton with Wiener Staatsoper
Nach dem Hänsel kam nun auch der Anton auf Margaret Plummer zu, die zwar ein bisschen ungeschlacht wirkt, aber das nie besser einsetzen kann als in der Darstellung von Buben. Sie hat, zu ihrem guten Mezzo, eine Art spontane Herzlichkeit, die das Publikum umweglos erreicht.
Charlotte in Werther with Lyric Opera of Melbourne
As the object of his adoration, Margaret Plummer was in glorious voice on both evenings. Charlotte’s music appeared to present her beautiful, creamy mezzo soprano with no vocal difficulties. Her musical security and ease on stage enabled her to immerse herself in the role of a woman torn between love and duty to a man more concerned with his business affairs than communication, a woman who finds a soul mate in Werther. In the final duet as Charlotte nurses his dying body and the longed-for kiss is bestowed, Plummer and Sharma gave an emotionally charged performance that captured the spirit of Massenet’s intensely Romantic music.
As Charlotte, Margaret Plummer is many things. While tenderly mature as a sister to Sophie and another six young girls, fiancé and then wife to Albert, she is also stricken by her troubled thoughts and feelings for Werther. Plummer glistens with nurturing pride in the role. Relaxed in voice and exhibiting purity, breadth and expression, she steals the night with her enigmatic stage presence.
This production was dominated by the Charlotte of Margaret Plummer. Margaret has sung in Vienna and with Opera Australia and her lovely mezzo showed no sign of strain, even in the more emotional parts of the score. She was a passionate Charlotte.
Starring as dear Charlotte, Margaret Plummer provides a shining presence on stage, her wide, open face easily conveying Charlotte’s torment and gaining our affection and empathy. Massenet’s decision to write the heroine for a mezzo-soprano was a canny one indeed, allowing the character to appear more real and accessible to the audience. Plummer’s gorgeous voice rang out true and clear as she gave a sensitive, carefully measured performance.
Diane in Iphigenie en Tauride with Pinchgut
... mezzo-soprano Margaret Plummer, whose firm, focused tones are heard with pleasure in Gluck’s music for the Prêtresse and the anonymous Grecque. It is as Iphigénie’s deus ex machine Diane that Plummer is most memorable, however. The resonant, aptly unanswerable beauty with which she delivers Diane’s ‘Arrêtez! écoutez mes décrets éternels’ in Act Three is indeed divine. ... Plummer is a singer who leaves her mark on a performance and one ready to assume her place as one of opera’s finest leading ladies.
the deus ex machina is a coup de theatre, Margaret Plummer radiantly lit and costumed in blue, putting in a mean turn as save-the-day Diana.
Margaret Plummer ... brought intensity and dramatic conviction to her portrayal.
Margaret Plummer sang the role of Diana, the dues ex machina who resolves the situation at the end of the opera, with unwavering, ringing firmness
In the deus ex machina role of Diana, Sydney (mezzo) soprano Margaret Plummer’s big rich voice conveyed the right sort of benign authority
Richly rewarding, full of glorious music the Deus ex Machina of the appearance of Diane (strongly sung by Margaret Plummer) somewhat lifts the constant sense of impending doom and one can breathe a sigh of relief that all has been put to rights.
In stark contrast, Margaret Plummer radiates with authoritative purity as the goddess Diana, scorning the Scythians, decreeing a triumphant passage to Greece for Iphigénie and Oreste and ending unrest.
Phoebe in Castor et Pollux with Pinchgut
“Margaret Plummer is a formidable Phoebe” Sydney Morning Herald
“The Phœbé of mezzo-soprano Margaret Plummer is a superb creation. Though Phœbé’s motives are selfish and her actions duplicitous, Ms. Plummer invests her performance of the rôle with subtlety and frankness of expression that suggest that an unexpectedly noble heart beats within her. Phœbé’s anguished ‘O Ciel! tout cede à sa valeur’ inspires Ms. Plummer to powerfully emotive singing that nonetheless never deviates even momentarily from tastefulness.”
Dorabella in Cosi fan Tutte with Harbour City Opera
“Matching the dropped waists, sharp bobs and cocktails, the singing was sharp as a tack, just as Mozart should be…Margaret Plummer shone as a captivating Dorabella from the moment she entered. An accomplished and entertaining actress, her conniving eye rolls and cheeky glances made her a convincingly sassy victim of second child syndrome to Qestra Mulqueeny’s sulkily seductive Fiordiligi. The pair worked beautifully together vocally with a particularly delightful blend.”
Dorabella in Cosi fan Tutte with Pacific Opera
- “The two sisters (Penelope Mills, Margaret Plummer) were delightful, with their duets producing some truly exquisite moments. This is the sort of quality singing you would be lucky to find in some of the bigger opera productions, intense and breathtaking.” Sun-Herald
- ” Leading [the] talent were Penelope Mills and Margaret Plummer whose vocal sounds blended with a golden liquid quality and a glowing intensity in the top register… Plummer’s voice had strength, substance and a rich and promising bloom.” Sydney Morning Herald
Flora in La Traviata on Sydney Harbour with Opera Australia
- “Margaret Plummer rang out with clarity as Flora” Sydney Morning Herald
-”Margaret Plummer is delightful as Violetta’s dear friend Flora” Theatrepeople.com.au
-”Margaret Plummer stood out as an exemplary Flora” operainsider.com.au
-”L’autre ravissement musical de la soirée nous vient en revanche de Margaret Plummer, dont le talent de comédienne a su être magnifiquement exploité par Francesca Zambello. Même si le rôle de Flora Bervoix est de second plan, il est impossible d’oublier chacune de ses apparitions, tant par sa présence scénique, que ses qualités vocales impeccables.” tutti-magazine.fr
Translated: The other musical rapture of the evening comes from Margaret Plummer, whose talent as an actress is magnificently exploited by Francesca Zambello. Even if the role of Flora Bervoix is of second tier, it is impossible to forget each one of her appearances, not only becuase of her scenic presence, but also because of her impeccable vocal qualities.
Annina in La Traviata with Ozopera
“Margaret Plummer sang Annina, Violetta’s maid, impeccably. Her vocal tone was consistently excellent.” The West Australian Today, Thursday September 15, 2011
In Concert - Opera in The Channon
Margaret Plummer, a mezzo-soprano with a thrilling high register, won everyone’s hearts with her Rosina from Rossini’s Barber of Seville, a role where she was able to show off both her capacity for sweetness and her ability to be the vengeful viper.