„Maya Boog’s stunning Marguerite is a revelation: enchanting timbre, a luminous and powerful high register, graceful physique, intensive acting…not to mention an intensity of emotion which is spine-tingling in the last scenes.“
Opera Magazine, Richard Martet,  for Faust

„Maya Boog is the embodiment of a modern singer ; flexible, agile and naturally attractive and she brings physical and vocal expression seamlessly together.  Gounods opera in Basel should be renamed "Marguerite", not out of respect for Goethe, but in honour of Maya Boog.“
Neue Zürcher Zeitung, Marianne Zelger-Vogt, for Faust

„Maya Boog‘s uplifting soprano knows yearning, pain and also the lightness with which she throws herself into this catastrophic romance.“      
Frankfurter Rundschau, Georg Rudiger for Faust

„To touch the audience, she doen‘t need singing - it is already enough that she sits on her swing simply dreaming of happiness.“      
Der Tagesspiegel, Jörg Königsdorf for Faust

„With faultless intonation, clearly declaimed vocal colors and a tremendously supple voice, she created a Violetta of breathtaking presence, of emotional courage and frequently moving nuance.“
Musik und Theater, Reinmar Wagner for Traviata

„The Swiss soprano has created an impressive Violetta, who between erotic egotism and trembling youthfull feminine isolation, point to real role understanding and human knowledge.“
Tages Anzeiger, Michael Eidenbenz for Traviata

„The highly acclaimed central figure was without doubt Maya Boog as Violetta. When Boog fills a character with life the result is fascinating moments of theatre.“      
Der Bund, Tobias Gerosa for Traviata

„Maya Boog portrays this Gilda movingly, her dramatic achievment is constant throughout, her singin likewise.Her finely tuned lyric soprano with delicate top notes and the ability to poise notes purely right to the dramatic climax,makes this performance an unforgetable experience.“
Opernwelt, Alexander Dick for Rigoletto

„Also musically a premier league performance thanks to Marko Letonja‘s conducting and Maya Boog as Gilda.“      
Opernwelt Jahrbuch, Alexander Dick for Rigoletto

„ his side the incomparable Maya Boog as Gilda, sweetly suffering and so tragically sweet, that one is lost for words.“      
Der Sonntag, Nikolaus Cybinski for Rigoletto

„Even when the dancer throws her in circles just above the surface of the water, Maya Boog sings the Handlian vocalises with determination and absolute precision as though it were the most perfect posture in which to sing incredibly difficult coloratura.“
Neue Luzerner Zeitung, mat. for Semele

„....unique in that her coloratura is as cristal clear, as perfect, as full of content in extreme balletic movement as when she is still.“      
Badische Zeitung, Heinz w. Koch for Semele

„....and what Maya Boog produces in terms of vocal prowess and physicl agility is simply amazing.“
Neue Zürcher Zeitung, Peter Hagmann for Semele

„Maya Boog sings and portrays a highly sensitive and moving Fiordiligi.“     
Opernwelt, Alexander Dick for Così fan tutte

„Then what Karin Beier and Maya Boog have created in theatrical intensity, outshaddows everything else.Also vocally Maya Boog outshone her colleagues. The intensity of her performance lay in her voice and in her singing and above all in her intimately moving and desperate piano passages which became moments of thrilling great opera.“    
Musik und Theater, Reinmar Wagner for Così fan tutte

„Above all Maya Boog is again enthralling in her depth of expression, her artistic honesty.“
Süddeutsche Zeitung, Heinz W. Koch for Così fan tutte