Press

Revista Mujer

A STAR – WITH NO PRESUMPTIONS – READY FOR NEW HORIZONS

"When you see her on stage, you feel that she is a true star: disciplined, impeccably prepared, professional in every sense of the word and thoroughly dedicated to each of her interpretations. But when I sat with her for this interview in a French café in Houston, I was pleasantly surprised to find a fun, human, warm, and vibrant woman with a contagious positive energy."

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Broadway World

ANA MARIA MARTINEZ at Crowder Hall, U Of AZ

"All evening long she sang with total control, employing even vocal color throughout her enormous range. Her ability to vary her sound from dramatic fortissimo to the most beautiful thin thread of silver was impressive. Whereas most recitalists want the top of the piano down as far as they can get the pianist to put it, Martínez sang with it all the way up and had no problem being heard above the full sound of Craig Terry's elegant accompaniment."

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Opera News


"As Florencia, soprano Ana María Martínez registered best: the soaring high notes and vastly extended melodic lines of Catan’s score are Martínez’s métier, and the nuances in her singing, as well as the strength and richness of her voice, captured both Florencia’s upper-class reserve and her anguished yearning for the lover she left behind.”

Houstonia

Review: Florencia en el Amazonas Offers a Magical Vision of Love

"Ana Maria Martinez was at her very best in the title role: Her solos as Florencia were rapturous and impassioned, and her middle range gorgeously colored and rich, with soaring high notes that never bordered on strain. There was a naturalness to her acting that carried the emotion of the character without exaggeration."

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Houstonia

Ana María Martínez Returns to HGO to Lead Florencia en el Amazonas.The longtime Houstonian graduates to the title role in this Spanish-language opera.

"Martínez has the type of down-to-earth and disarming personality that nearly belies her international opera diva status, and she’s totally unabashed about her love for Houston, where she’s lived since 2002.

Born in Puerto Rico and raised in New York City, Martínez arrived here in the mid ’90s as a Young Artist in the Houston Grand Opera studio, a platform that helped launch her now-monumental career. She later returned to play the role of Rosalba in HGO’s 2002 production of Daniel Catán’s Florencia en el Amazonas. She knew then that Houston would become home base."

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Florencia en el Amazonas at Miami’s Arsht Center

FGO triumphs with an old-fashioned operatic beauty in “Florencia”

"As the opera star Florencia Grimaldi, the Puerto Rican soprano Ana María Martínez brought to the role a tone of world-weariness tempered by hope, as she returned to scene of her lover’s disappearance. Vocally, she was outstanding, with a dark, creamy middle register that perfectly brought out the sensuousness of the music. With stunning clarity, she floated pianissimo high notes, soft and luminous, that easily projected through the hall."

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Così fan tutte at the Lyric Opera

Lyric revival of Mozart's romantic comedy 'Cosi Fan Tutte' touches the heart

"Ana María Martínez sung an enchanting Fiordiligi. Martínez sailed through the triplets in "Come scoglio" with precision and grace, and her exquisitely shaped, deeply felt "Per pietà" was amongst the most beautiful musical interludes of the evening."

Palm Beach Daily News


"The role of Manon was beautifully brought to life by Ana María Martínez. This young soprano brought a mature and profound understanding to the role with an interpretation packed with emotion. She has a very solid technique, which assures her of excellent control of her entire vocal range -even to a high D exploit a wide dynamic range. Her softest notes were sung with intensity and yet, never forced or strained. Martínez exercised a magnetic hold on her audience the entire evening both with her gorgeous voice and wonderful acting. "

San Antonio Symphony Concert


It was a program made for pleasure, and most pleasurable of all was Ms. Martînez’s rich, warm, disciplined instrument, a melt-in-your mouth dark-chocolate truffle – with flecks of orange zest contributed by her horn-like vibrancy. She is remembered locally for her splendid work in the Verdi Requiem in 2013, and I also recall her impressive Countess in Mozart’s The Marriage of Figaro and Juliet in Gounod’s Romeo and Juliet at Houston Grand Opera in 2005.

Her vehicles in this concert were Manuel de Falla’s Seven Popular Spanish Songs, arranged for orchestra by Rodolfo Halffter, and selections from four zarzuelas – the Spanish style of operetta – including her encore, the famous “Carceleras“ from Ruperto Chapi’s comedy of tangled loves Las Hijas del Zebedeo. There were many rewarding subtleties in her performances – the slight pitch inflections in Falla’s tender “Nana,” the sweetness of her response to concertmaster Eric Gratz’s sweet violin solo at the beginning of the Romanza from Ernesto Lecuona’s Maria la O, her intelligent shadings of vocal color to underscore the texts throughout.

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The Boston Globe


"The rising young Puerto Rican soprano Ana María Martínez joined Bocelli for the arias and love duet from Puccini’s ‘La Bohème.’ She is blessed with a ripe, spinning lyricospinto vice that should sweep her to operatic stardom; even better, she radiates real warmth and simplicity. The two singers held hands and matched high C’s in the love duet and the house came down."

The Chicago Sun Times


"Along the way [Plácido Domingo] introduced a recent protégée, soprano Ana Maria Martinez, who has had success in Houston, Hamburg and at Covent Garden, and made her Metropolitan Opera debut two seasons ago. Born in Puerto Rico to a Puerto Rican mother and a Cuban father and educated at Juilliard, Martinez clearly enjoys embracing an array of identities and styles a la Domingo. Believable and exciting in both the Jewel Song from Gounoud's 'Faust' and in zarzuela solos and duets with her mentor, she brought down the house with Eliza's 'I Could Have Danced All Night' from Lerner and Loewe's 'My Fair Lady.'"

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Opera News


The evening's vocal laurel went to the Nedda of Ana Maria Martinez, whose seductively darkish timbre, sensitivity in dynamic shading, and keen textual resonance coalesced for a most impressive house debut [at Lyric Opera of Chicago]."