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]."

Opera Magazine

"But at least there is Martínez! On this evidence alone she requires ranking among the top lyric sopranos of the day. The voice, with its dusky warmth of timbre and fullness lower down, agility in passagework, freedom in opening up on top and ease in pinpointing and floating soft high phrases, is a classic Latin instrument, the more so for apparently suffering none of the stereotypical afflictions of edginess or shrillness, and for the immaculate musicality underpinning its every utterance."

The Huffington Post

Soprano Ana Maria Martinez Prepares to Sing Butterfly at Washington National Opera

"Ten years ago this month, Martinez made her debut at Washington National Opera as Liu in Turandot. This week she returns to sing another Puccini heroine, Madama Butterfly, the love-struck geisha in 1904 Nagasaki who is seduced, then abandoned, by the U.S. naval lieutenant she marries. Martinez admits that playing Cio-Cio San is a challenge."

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The Sunday Times

"Especially when the Elvira is a strong a personality as the wonderful Puerto Rican soprano Ana María Martínez, making a triumphant debut as one of the most vocally lustrous and temperamental performers of his role here since Kiri Te Kanawa’s early days. Martínez is a beautiful woman with a fascinating voice, full of velvety mezzoish half-tints in he middle and bottom ranges, with a gleaming top. She must come back soon, and often."

Opera News

"Ana María Martínez was perfectly suited to the role of Donna Elvira, which allowed her not only to show off her beautiful, dynamic voice but to engage her considerable comedic and dramatic abilities. She made Elvira's dejection palpable, and her ability to capture her character's righteous indignation added to the fiery brilliance of her singing, as in the Act I aria, 'Ah, fuggi il traditor.'"

Los Angeles Times

Influences: Soprano Ana Maria Martinez

Ana María Martínez remembers the struggle she went through to find — and commit to — her calling. Now she is becoming one of the world’s acclaimed operatic sopranos and, especially in the Spanish-language press, a star.

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