"Marlin Miller offered a finely observed Painter, not least in terms of uncommonly sweet-toned vocalism."
Mark Berry, Seen and Heard International, Oct 31st 2011
"American tenor Marlin Miller is remarkable, with his typically “janacekian” timbre. His high notes are both soft and bright, both clear and powerful, and his superb piani nuances are always even. All in all, he incarnates Laca beautifully in his relations with the three main female characters (Jenůfa, Kostelnicka and Grand-mother Burya). In addition, he brings the naïve and generous tendencies of his character to life."
Emmanuel Andrieu, Concertonet, Mar 17th 2013
"Tenor Marlin Miller’s Laca has an engaging and bright timbre and such an incredible vocal assurance that it is surprising that it takes Jenufa so long to respond to his love."
Fabrice Malkani, Forum Opéra, Mar 17th 2013
"Marlin Miller shines in the role of the rejected Painter, just as he shines in that of the Negro."
Gilles Charlassier, Classique Info, Oct 24th 2011
“...Marlin Miller radiates with suppleness and strong expression ... illuminates in all dimensions.”(Werther)
APA, Dec 23, 2002
“Marlin Miller ... has at his disposal a voix-mix as well as a powerful, secure top. With taste and sensibility, Miller portrays the poet’s melancholy dreaminess as believably as his ecstasy and despair.” (Werther)
Kleine Zeitung, Dec. 24, 2002
“… Marlin Miller … was profoundly moving in the title role ... acted with brisk precision laced with humor … lyrically beautiful ... passionate ... beautiful enunciation and careful phrasing …” (Les Contes D’Hoffmann)
The Ithaca Jounal, 10/31/03
“The young American Miller with his secure, bright tenor gives an excellent and passionate Hoffmann.” (Les Contes D’Hoffmann)
Basler Zeitung, Feb. 24, 2003
“Marlin Miller is a vocally flexible and charismatic ‘Rake’, with brilliant, heroic energy.” (Rake’s Progress)
Salzburger Nachrichten, June 8, 2004
“... Miller has found ‘his role’ with Rakewell, convinces vocally and theatrically ... pleases with a flexible, lyric voice and highly intense acting.” (Rake’s Progress)
Steirer Kultur, June 8, 2004
“Miller as Jupiter shines with a radiant tenor.” (Semele)
Steirer Krone, Mar 25, 2002
“(Miller) is irrepressible ... Miller’s Quint rang through the theatre, every word chillingly clear. Nothing ghostly there.” (Turn of the Screw)
New York Times, Aug. 27, 2002
“Tenor Miller shines as Peter Quint ...” (Turn of the Screw)
Die Presse, June 3, 2002