Tosca, Tosca, King's Head Theatre 2017

Willowy and highly strung, Marriott’s Tosca is sung with formidable point and accuracy Yehuda Shapiro,  The Stage

Becca Marriott delivers an extraordinarily powerful portrayal of our heroine Angela Johnson, Entertainment Focus

It was Becca Marriott’s fiery and vocally assured diva that carried the evening. Her own capriciousness drawing her into a world of turmoil she does not understand until it’s too late. Anthony Evans, Planet Hugill

Silvia, Zanetto, TimeZone Theatre for Opera in the City 2017

"However, Becca Marriott’s elegant Silvia is drawn with high psychological realism as an older woman convinced her love is “fatal”, a conclusion drawn, we suspect, from tragically low self-esteem as well as some sad previous experience...this fragile, haunted woman, eventually leaving her with anxiety and regret. With exceptionally fine singing" Charlotte Valori Bachtrack

"The singing from Becca Marriott (Silvia) ... is a blast. Powerful vocals, clear notes throughout and super tone."   ReviewsHub

Ortlinde, Die Walküre, Grange Park Opera 2017

The Valkyries were a terrifying lot, especially Becca Marriott’s Ortlinde and Gemma Morsley’s Grimgerde – their glee as they hauled the bloodied body bags (those were some slender heroes) and their terror at the implications of their sister’s deed, were enough to send any would-be warrior off the field lest he should catch their gaze. Melanie Eskanazi OMHMusic

Cio Cio San, Madam Butterfly, King's Head Theatre 2017

"The musical anchor is Marriott's forcefully sung Butterfly, passionate and proud." Neil Fisher The Times

"Becca Marriott  gives a spine-tingling performance as the abandoned Butterfly...The night belongs to Marriott and one hopes she’ll be able unleash that power some day on a larger stage." Inge Kjemtrup,  The Stage

"The undoubted star of the show was Becca Marriott as Butterfly who was utterly convincing in the role and sang every note as if her life depended on it." Ian Spiby Reviewsgate

"Becca Marriott is an outstanding tour de force – I would go again just to watch her performance alone...Marriott’s performance is wrought with emotion. She is a magnificent tour de force. Having only recently come on the opera scene, I imagine we will see big things from her." Felicity Peel

Mimi, La Bohème, King's Head Theatre 2016

"A Powerful and compelling performance." Anna Picard The Times

"But it was Becca Marriott’s performance as Mimi that really grabbed the show. She was at once vulnerable, lovable and abhorrent: a substance abuser, a street beggar selling her body but also abusing her relationships with those who love her. In the final, tragic scene people were close to tears." — David Winskill,  Islington Gazette

"Becca Marriott plays Mimi, with a sense of dependency all wrapped up in a charming performance with the sweetest voice." — Heather Jeffery LondonPubTheatres


Tosca, OperaUpClose @ Soho Theatre 2013

"Especial praise must be given to Becca Marriott as Tosca who looked every inch the diva and sung with passionate relish; her Vissi d’arte was memorable. " — Sameer Rahim,  The Telegraph 

"Becca Marriott’s Tosca had the right sort of petulance, plus bags of vocal power" — Michael Church, The Independent

"Becca Marriott and James Harrison in particular soar beyond their opera backgrounds, complementing their faultless vocals with thoroughly absorbing and ultimately devastating performances...the emotion that would normally be conveyed through a full orchestra was supplemented sublimely by Marriott’s thoroughly heartbreaking performance" —  Daniel Harrison,  A Younger Theatre

"Scarpia and Becca Marriott’s troubled Tosca excel in their partnership and convey a disturbingly real representation of the effects of sadistic power on the weak and desperate." — Caroline Cronin,  BargainTheatreLand

Tosca — Dress Rehearsal Philharmonia Britannica, St John's Waterloo, London 2013

 Gala, Tête à Tête Festival 2013

"Soprano Becca Marriott is superb in this role...because of her incredibly contorted facial expressions...Her voice was strong, and adapted perfectly to a style of singing" — Kate Mason, OneStopArts

"Gala is a lady, with a surly maid, who is looking for a man and she finds one, Jesus Christ Superstar who is only after her money. It is all very weird but wonderful too, especially Becca Marriott's singing as Gala." — Matthew Rees,  Ham Life

 Ballo, OperaUpClose 2013

"Becca Marriott combines an intriguing breadth and power" — Warwick Thompson, Metro

"Becca Marriott, who plays Amelia, is undoubtedly destined for stardom." — Francesa Wickers,

"Amelia (Becca Marriott) stands dressed in trademark yellow and blue, harshly lit by two street lamps and sings her heart wrenching aria with the opening line “Here I am in this bloody freezing car park.” It was mesmerising." — Alison Wisenfeld, West End Frame

"Marriott’s arias are frequently spine-tingling." — Jonathan Baz, WhatsHecubaToHim

"This was a truly special performance by Christopher Jacklin and Becca Marriott, who had the audience mesmerised." — Carys Jones,  Entertainment Focus

Dido and Aeneas, Black Robin Opera 2013

"Your performance last night was simply beautiful. What a great production! So much talent working together cohesively." — Adam Spreadbury-MaherArtisic Director of OperaUpClose

Tosca, OperaUpClose 2012

"The star among the youthful cast is Becca Marriott, giving an intense and tuneful voice to the title character, Floria Tosca...she is utterly convincing as the feisty, petulant diva." - Jonathan Lennie, TimeOut

"Becca Marriott's Tosca, a compelling vision in red lipstick and black market furs, has a suitably wanton allure and sounds fiery" — Neil Fisher, The Times.

"Becca Marriott has impressive vocal stamina and successfully portrays both Tosca’s sensuality and vulnerability." — Christina Folkard, The Good Review.

"This is a cast of gorgeous singers. Marriott’s bird-like trills in particular ring delightfully" Veronika Aloess, A Younger Theatre

"A convincing assassin ****" — Nick Kimberley, The Evening Standard

Le Nozze di Figaro, Aria Alba 2012

"Perfectly pitched and poised and I was captivated" — Audience reviews 2012

"Becca Marriott outstanding as the Contessa.. What a wonderful voice!" — Audience reviews 2012

Staged early songs and duets, Lute Society 2011

"A remarkable and revelatory performance " — Lute News 98

Haydn, Missa Cellensis, Burnham Choral Society 2011

"Becca Marriott was the most impressive, with her bell-like clarity and accurate interpretation" —The Burnham Review 

The Secretary Turned CEO, Tête à Tête Festival 2013 (Librettist) 

"These three deliciously over-the-top performances are not what makes this show, though: that honour goes to the libretto, by Becca Marriott. Sensibly discarding all but the vague thrust of the original, it's chock-full of ridiculous rhymes ("100 toilet roll dispensers / To the Ministry of Defence, please") ... in exactly the way a comedy like this should be. And in doing so, it surely ends up closer to the madcap spirit of the original piece than a "straighter" adaptation would have done." — Paul Kilbey, OneStopArts