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Donna Anna, Don Giovanni
North Carolina Opera
”…a momentous performance of ‘Or sai chi l’onore’ in which the voice pulsed with anger and determination…Dunleavy’s formidable technique allowed her to concentrate on the psychological nuances of ‘Non mi dir, bell’idol mio,’ begetting a ruminative atmosphere…this Anna manifested an aura of resolution, bolstered by the confidence of Dunleavy’s vocalism.” - Voix des Arts

Isabella Stewart Gardner, American Apollo (role debut)
Des Moines Metro Opera (festival debut)
“Second among equals was the deluxe casting of Mary Dunleavy as Isabella Stewart Gardner. Ms. Dunleavy’s shimmering soprano has graced many of the world’s great stages, and how blessed we were that on this occasion, she came to rest in the Des Moines Art Center auditorium. Her singing was an utter delight, marked by pristine, effortless delivery that encompassed coloratura flights of abandon and conversational repartee with equal distinction. Further, her down-to-earth Grand Dame doesn’t take herself seriously, and she accounted for many chuckles in an otherwise earnest proceeding.” - Opera Today

Millicent Jordan, Dinner at Eight
Wexford Festival Opera (festival debut)
“It succeeds primarily thanks to a vintage acting performance by Mary Dunleavy.” - The Sunday Times of London

Alice Ford, Falstaff
Garsington Opera
“Alice Ford is sung and played with exquisite sound and wit by Mary Dunleavy.” – Town and Country

Alice Ford, Falstaff (role debut)
Opera Omaha
“Mary Dunleavy looked great and sounded even better. Her voice remained pristine, supple and effortless throughout the evening, suggesting that she could sing for another five hours before showing any sign of stress or fatigue.” – Opera News

Stepmother, Alma Deutscher's Cinderella (role debut)
Opera San José (company debut)
“The cruelty of Mary Dunleavy’s Stepmother was almost unbearable. Dunleavy’s clear soprano could switch instantaneously from hypocritical syrup to a full-throated shriek. The Stepmother’s rage-filled coloratura passages were part of the opera’s self-referential satire; Dunleavy furled them out with power and precision.” – The New Criterion