The Sound of Music, Reagle Music Theatre
“Mara Bonde delivers an understated performance as patient, insightful, and ceaselessly faithful Mother Abbess, enhanced by a soaring rendition of the show’s inspiring anthem, Climb Every Mountain”
-The Sleepless Critic
“Standouts include Mara Bonde as the Mother Abbess. Bonde grounds the Nonnberg Abbey in the reality of the time. She also raises her beautiful voice on “Maria” and “My Favorite Things,” and lets it soar in her act-one solo closer, “Climb Ev’ry Mountain.”
-Metrowest Daily News
“Ms. Bonde performs a stirring rendition of “Climb Every Mountain” as she encourages Maria to follow her heart. She reaches deep down and has the audience cheering as she hits the final notes.”
Trouble in Tahiti, Boston Lyric Opera
"the Greek chorus of Neal Ferreira, Vincent Turregano, and Mara Bonde,[...]are as gifted comically as they are vocally, particularly when playing the role of sunnily dispositioned commercial singers.”
-The Theater Mirror New England Theater Guide
“Mara Bonde, Neal Ferreira, and Vincent Turregano sang the closely harmonized trio parts with high-period style.”
-The Boston Globe
"Trio members Mara Bonde, Neal Ferreira, and Vincent Turregano, were appropriately bubbly and executed an exhaustive amount of movement throughout the entire show. They weaved deftly in and out of scene after scene with vocal agility and harmonious blend."
-The Theatre Times
"The most on-point performance of the evening was the jazz trio of soprano Mara Bonde, tenor Neil Ferreira and baritone Vincent Turregano, who crooned and whispered the glories of Beverly Hills and Highland Park with seductive aplomb..."
Magic Flute, Boston Baroque
"The trio of Sonja Dutoit Tengblad, Mara Bonde, and Emily Marvosh as First, Second, and Third Ladies, their sound matched right down to the vibratos, glittered vocally and brought smiles whenever they appeared, especially in the opera’s first scene, as each attempted to outmaneuver the others and become the sole “caregiver” to the handsome, passed-out prince."
-Boston Classical Review
Sir John in Love, Odyssey Opera
"Mara Bonde[...]delights particularly with her clear diction and especially responsive stage presence."
-The Boston Musical Intelligencer
L'elisir d'amore, Sarasota Opera
“Of course, it all works out in the end, but not before the rich Adina, played by the fine soprano Mara Bonde, has had the opportunity to flirt with every man on stage while unleashing impressive cascades of coloratura fireworks.”
Guys & Dolls, Reagle Music Theatre
"Brent Barrett and Mara Bonde blend beautifully together in song and snappy chemistry. Their rich vocal harmony is especially captivating during the numbers, "I’ll Know" and "I’ve Never Been in Love Before.”
"Both Bonde and Barrett bring an appealing sophistication to their roles"
-Wicked Local Theater Review
Kiss Me Kate, Commonwealth Opera
"Bonde's versatile soprano, equally lovely and at home in classical or popular styles (a trait that has endeared her to Boston Pops management and audiences alike) was put to brilliant use in such Porter masterpieces as So in Love and I Hate Men."
“Bonde sang with clarity and lyric beauty. When called upon, her voice easily soared over
chorus and orchestra.”
-The Salt Lake Tribune
"The personable soprano’s artful interpretation of Samuel Barber’s nostalgic, atmospheric Knoxville: Summer of 1915 was a joy. Her voice had just the right mixture of freshness and élan to evoke the character."
-The Cape Cod Times
“Soprano Mara Bonde stole the shows Friday evening at the Shubert Theater…Her I Could Have Danced All Night was lovely for her operatic control, purity of tone and a surprising earthiness, which was available to her whenever she chose to express it."
-New Haven Register
"Bonde also paired with principal trumpet Matt Sonneborn in an exciting musical dialogue during Handel’s ‘Let the Bright Seraphim.’ The two musicians, vocalist and trumpeter, danced over the musical topography of the selection.”