Estimation and Parts
Marie Louise Marcadet was not considered beautiful, but she was described as a splendid actor, and also as a competent singer. Johan Henric Kellgren considered her acting divine, Gjörwell wrote: "The entire soul was created for the Theater" after having seen her in the opéra comique Zémire et Azor by Grétry opposite Carl Stenborg (season 1778–1779), and she was mentioned by Carl von Fersen as an example of the meaning of education in his book The Improvement of the Swedish Opera and entertainment, written in 1780
As an opera singer, her voice is described as, in reality, nothing more than a normally good operatic voice, but she handled it so well that she became a very good opera singer. She was, however, considered to be best as a dramatic actor in speaking drama, were her hard French accent gave her lines power and energy, and she was recommended for its passioned strength. Among her most admired parts, from both her operatic and her dramatic career, was Clytaimnestra, Merope by Voltaire, Jocasta in Oedipe by Adlerbeth, Statira in Olympie by Johan Henric Kellgren, Athalie by Racine and countess Walltron in Der Graf von Walltron by Heinrich Ferdinand Möller.
She played Henriette in Les deux avares (season 1777–1778), Arséne in the opera La belle Arsène by Monsigny (with Elisabeth Olin and Christoffer Christian Karsten) and Iphigenie in Iphigénie en Aulide by Gluck (with Carl Stenborg), 1779–1780, Cybèle in Atys by Piccinni (with Carl Stenborg and Kristofer Kristian Karsten), 1784–1785, Hermione in Andromaque by Grétry (with Franziska Stading), Cecilia av Eka in Gustaf Wasa by Johann Gottlieb Naumann (with Carl Stenborg, Kristofer Kristian Karsten and Caroline Halle-Müller), 1785–1786, Ramfrid in Folke Birgersson till Ringstad by Gustav III (with Kristofer Kristian Karsten and Inga Åberg), 1792–1793, and Minerva in Alcides inträde i världen (The arrival of Alcide in the world) by Haeffner, 1793–1794.
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