Marion performed the role of Noodin-Kwe in the premiere of Spy Dénommé-Welch and Catherine Magowan's Giiwedin, Directed by Maria Lamont, with Gregory Oh Conducting.

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GIIWEDIN REVIEWS
 
"The cast rose to the occasion and gave a committed ensemble performance. Marion Newman, as Noodin-Kwe, displayed a clear mezzo with an impressive range. She was well paired with the smooth baritone of Jesse Clark as Jean." - Colin Eatock, the Globe and Mail
 
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"Marion Newman (Noodin-Kwe) came to the project with an already formidable reputation. She has a gorgeous voice, lustrous and burnished in sound, which she can bend at will, whether as a soft lullaby for her child or a singing declamation against injustice." - Paula Citron, Opera Canada

"But the greatest accolades go to the committed, passionate and enthusiastic cast, led by First Nations mezzo Marion Newman, who successfully brought to life Noodin-Kwe, the fictional and symbolic 150 year old native woman fighting for her land. Yes, I believe those were real tears on her face at the end of the final scene." - Joseph So, La Scena Musicale

"One would like to hear more from Noodin-Kwe... Newman’s rich, powerful voice is ideal for Noodin-Kwe, so much so that we would like longer arias simply to showcase it." - Christopher Hoile, Eye Weekly
 

THUNDERBIRD WITH ARADIA ENSEMBLE

On May 15, Marion performed Thunderbird, an original work centered around a Newman family legend.
 
A Thunderbird mask, carved by Marion's father, Master Carver Victor Newman, was danced by traditional Kwagiulth dancer Jason Taylor, who was accompanied by renowned drummer and singer George Taylor.
 
The remainder of the program was made up bird inspired music from the Baroque era performed by the Aradia Ensemble with weather and storm related themes. Ending the concert was a new work by Dustin Peters, which meshed the Baroque style with Aboriginal Arts.
 
More information is available here!
 

EARLY MUSIC AMERICA RINALDO REVIEW

Marion's role in the Naxos recording of Handel's Rinaldo has been very positively reviewed in the Vol 15, 2009 issue of Early Music America Magazine:
 
"Marion Newman is the vocal surprise of this recording, showing a remarkable versatility for such a short role; she has a magnificently full bodied voice reminiscent of Jennifer Larmore's in her "Mio cor, che mi sai dir?" and a tamed, almost without vibrato, and androgynous tone in "Sorge nel petto."
 
Read the full review here!