Anne-Marieke Evers

Photos by Lucy Lyon, Sandra M. van Elten & MadebyJM.com

“Dutch-born mezzo-soprano Anne-Marieke Evers, much specialized in early music, dealt with the alto recitatives and arias with outstanding vocal presence, projecting her voice amply and with natural ease into the acoustic space of the church. In the aria “Sleep, my dearest”, she recreated this moving jewel of a lullaby in gentle, empathic yet substantial singing, as the basso continuo repeated the note g in octave leaps to depict rocking the baby”.
Weihnachts Oratorium – J.S. Bach-
Pamela Hickman – Concert Critique Blog December 2016

“No less delightful was Anne Marieke-Evers’ rendition of the “Domine Fili unigente” in conversation with Kribus on oboe, the vocal line discerningly shaped by her well-anchored alto voice in singing that was tranquil and unforced and arising from natural musicality”.
Mass in G minor BWV 235- J.S. Bach- Jerusalem Baroque Orchestra
Pamela Hickman – Concert Critique Blog May 2016

“ De chansons van onder andere Dufay en Ockeghem krijgen hier echt een ideale uitvoering. Mezzosopraan Anne-Marieke Evers heeft een groot bereik waardoor ze, al naar gelang de sfeer van het chanson, verschillende registers kan toepassen. Ze heeft precies het juiste timbre voor deze muziek, maar laat zich in twee ballades van de Griekse componiste Aspasia Nasopoulou ook van een wat dramatischer kant horen”.
CD Danse et Chanson Grand Desir
Marcel Bijlo, Tijdschrift Oude Muziek

“Anne-Marieke Evers has a most beautiful voice, and makes it easy to forget the truth that it was almost certainly men who did the singing and playing (minstrels and jongleurs). At the time, working women were to be found mainly as artists and illustrators of manuscripts, as well as some poets. (…)
Nestling within the programme are two Ballades by the contemporary Greek composer Aspasia Nasopulu. She was inspired by the poetry of Christine de Pizan (c. 1364 – c. 1430), one of the first women with a literary career, and the Troubadour tradition. The music is mainly serene and archaic, with many modal keys, and recalls Ancient Greek dramas with their half-spoken, half sung techniques. I am usually against the inclusion of such “foreign” elements into programmes of period music, but admit to being beguiled by Anne-Marieke Evers’ gorgeous singing”.
CD Danse et Chanson Grand Desir  John Miller and SA-CD.net 2011

“…Evers has a lovely clear voice…”
CD Danse et Chanson Grand Desir
IRR International Record Reviews Great Britain

“Een grote rol is in de cantate weggelegd voor de Maria-figuur. Geen countertenor ditmaal (nee, dat kan ook moeilijk, Maria door een man met een falset-stem), maar een echte alt. Anne-Marieke, wat een prachtig volle stem, wat een weldaad voor het oor”.
Review Weihnachtsoratorium cantate 5 met Collegium Vocale Zaandam o.l.v. Cor Brandenburg
Noordhollands Dagblad Cor van Dongen, January 14th  2012

“If the jury took an inordinate time to decide the winner of the competition that has launched the famous names in Early Music, they could simply have taken advice from the audience who gave their prize to the Swiss-based group, Grand Desir, the competition’s most exceptionally gifted ensemble.
It is a female trio that has the rare and indefinable quality to set them apart from the other estimable finalists, the mezzo voice of Anne-Marieke Evers creating the most hauntingly beautiful quiet moment in the group of three anonymous works composed around 1500”.
Review York Early Music International Yound Artists Competition
David Denton, July 24th 2009