“Margot Rood, a soprano, performed with luminosity and grace.”

"Margot Rood...embodied the spirit of “Rejoice greatly” with a brilliant, zippy tone."

The Boston Globe

“...the light and glimmering voice of Margot Rood...sang with sublime but unpretentious elegance.”

“When soprano Margot Rood’s Oreste delivered bad news to Alcina in silken, silvery song, Mercer...almost stole the scene. (Almost. You can’t actually steal a scene from Margot Rood.)”

San Francisco Chronicle

“Rood was the vocal hero throughout, giving a proud, fine-grained rendition of the final soprano aria in 'Nun komm,' and joining with [Steven] Eddy and violinist Noah Strick to bring tender poignancy to the duets in 'Wachet auf'.”

Gramophone

“They [Blue Heron] field a dozen singers, all of whom are extremely good, though I would be inclined to single out Margot Rood as the one who always adds excitement to her singing – with just a little more vibrato than the others, but no harm in that when the results are so compelling.”

The Washington Post

“...Margot Rood, colorful and vital…”

BBC Music Magazine

"Margot Rood, whose instinctive musicality, pure tone and radiant upper register are reminiscent of the young Dawn Upshaw,...brings touching conviction to the central role of Emily Webb in young life and after death."

Opera News

“Margot Rood, as Emily, is particularly good; the essence of the wholesome girl next door pulses at the core of her lovely soprano. Managing to combine girlish lightness with cushiony fullness, she shows appealing self-certitude...In Emily’s “Goodbye” aria at the end (a great standalone piece), Rood fills Rorem’s wide intervallic leaps and demanding tessitura (up to a high C) with marvelously sustained vocal consistency and a sincerity that avoids the maudlin.””

The Providence Journal

“Soprano Margot Rood was the most captivating of the soloists, a singer with presence and projection, something that came through in a touching rendition of “I Know My Redeemer Liveth.”

San Diego Story

“Soprano Margot Rood projected brightly the cascades of ornaments that adorn the aria ‘Rejoice greatly’ with a brilliant sheen to her voice that commanded attention, yet she crafted a winsome, shimmering legato in the aria’s slow middle section...Rood’s elegant final cadenza in ‘I know that my Redeemer liveth’ sent chills up my spine.”