Read an interview with Marcio & Matthew Erikson, PR & Communications Manager, of Handel + Haydn Society!

Some of the best, and most relaxed, singing came in the recitatives; tenor Marcio de Oliveira was a particular standout, pointing the text with exemplary enunciation. (H+H Society, Bach Christmas, 2015)
— Jeffrey Gantz, Boston Globe
The evening’s solo vocal standouts included...tenor Marcio de Oliveira, whose well-placed voice projected the recitatives of Nos. 140 and 133 effortlessly and expressively. (H+H Society, Bach Christmas, 2015)
— David Wright, Boston Classical Review
Here tenor Marcio de Oliveira...sang with the requisite clarity and lightness in this most challenging of Bach vocal numbers. (H+H Society, Bach Christmas, 2014)
— David Schulenberg, The Boston Musical Intelligencer
In Tramontana’s well-blended but individually distinctive six voices, haut-contre tenor Marcio de Oliveira was a standout for his lyric line, emotional engagement and bright ping. (Tramontana, Prière, 2014)
— Lee Eiseman, The Boston Musical Intelligencer
Marcio has a very fine lyric tenor voice of special quality, handsome timber and flexibility, is of a size appropriate for the opera house, and is suitable for a variety of roles, more specifically in the operas of Mozart, Handel, Donizetti and many of the contemporary operas. He is also an expert interpreter of the works of Monteverdi and Bach. He has the voice, presence, the musicianship and the drive necessary to have an operatic and concert career. Marcio is especially interested in art song as well as contemporary American Song. He has the linguistic and musical ability to bring the most complicated score or intimate lieder to life. He has a very inquisitive mind and is one of the most interesting singers with which I have had the pleasure to collaborate. I believe he will continue to blossom and could have and extraordinary career as an opera and concert singer.

On a personal note, Marcio has the qualities of an individual that all admire. He is responsible, self-disciplined, well respected by his peers and is a model student. (Letter of Recommendation, 2011)
— Laura Brooks Rice, Voice Teacher at Westminster Choir College
Marcio de Oliveira, tenor, led the second movement with a lilting and finely seamed aria, “Marvel, O mankind, at this great mystery!,” his voice pure as the manna the aria offered us. Lovely string playing followed. Never overbearing, Mr. de Oliveira’s tenor sailed aloft. The ensemble played with dignity, grace and nobility at every point. (H+H, Cantata BWV 62, 2012)
— Carolyn Gregory, Stylus Fine Arts
Tenor Marcio de Oliveira sang his aria Bewundert, O Menschen, dies Große Geheimnis (“Marvel, O mankind, at this great mystery”) with exemplary Baroque style... His mellow sound was handsome in its upper regions... (H+H Society, Cantata BWV 62, 2012)
— Geoffrey Wieting, The Boston Musical Intelligencer
Tenor Marcio de Oliveira’s sprightly aria “Frohe Hirten, eilt” urged the shepherds to hurry to the manger, his virtuosity rivaling that of Wendy Rolfe’s flute obbligato in sinuous melody as cello and bass marked a steady beat in pizzicato. (H+H Society, Bach’s Christmas Oratorio, 2012)
— Virginia Newes, The Boston Musical Intelligencer
The score’s six soloists were drawn from the chorus, and all of them competently held their own. Teresa Wakim’s rendition of the soprano part was the highlight, marked by lustrous phrasing and golden tone. Similarly, tenor Marcio de Oliveira brought nice character to his solo, the account of the 80-year-old Joseph. (H+H Society, Cantata BWV 71, 2012)
— Jonathan Blumhofer, The Arts Fuse
The cantata’s vocal solos were parceled out to six singers, all of whom gave focused, well- characterized performances; highlights included tenor Marcio de Oliveira’s old-man turn in “Ich bin nun achtzig Jahr” and bass Donald Wilkinson’s resonant low F on the word “Nacht” in “Tag und Nacht ist dein.” (H+H Society, Cantata BWV 71, 2012)
— David Wright, Boston Classical Review
Most hilarious of all was Marcio de Oliveira in drag as Erisbe; a ditzy Mrs. Doubtfire prototype who longs to recapture the beauty of her youth. To do it right would realistically require bikini wax, a yoga instructor to correct her horribly slumping posture, implants to give her a seriously needed ‘perk,’ and copious Omega 3s to condition her thinning hair. But she’s still got a great pair of legs!! (Helios Early Opera, Cavalli’s Artemisia, 2013)
— Janine Wanée, The Boston Musical Intelligencer
As the Iago-like Joadab, Màrcio de Oliveira balanced a light, lyrical sound with efficiently villainous character, physically clear and effective. (Helios Early Opera, Charpentier’s David & Jonathan, 2012)
— Matthew Guerrieri, The Boston Globe
Keith Lam as Achis, and Marcio de Oliveira as Joadab, possessed lighter voices, but with great stage presence. Lam was extremely memorable for having tremendous poise onstage and especially beautiful facial expression. Mr. de Oliveira, although smaller in stature for a warrior, sang his role as villainous traitor with fiery enthusiasm. (Helios Early Opera, Charpentier’s David & Jonathan, 2012)
— Janine Wanée, The Boston Musical Intelligencer
One additional singer who stood out in both ensemble and individual singing was Mr. de Oliveira, equally at home in both the tenor and alto registers. (Princeton Singers, Josquin Missa pange lingua, 2010)
— Nancy Plum, Town Topics - Princeton, NJ
Tenor Marcio de Oliveira offers a passionate portrayal of Rinuccio and shows off an agile, multifaceted voice and a vibrant stage presence. (California State University, Stanislaus, Opera Theater, Puccini’s Gianni Schicchi, 2008)
— Lisa Millegan, The Modesto Bee