“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.”
“Puerto Rican soprano Ana María Martínez, a Lyric favorite, plays Fiordiligi, who prides herself on being strong as a rock (“Come scoglio”) when it comes to faithfulness. Fiordiligi holds out the longest, and Martínez is flat-out devastating as she engages the end of innocence when it befalls.”
Nancy Malitz, Chicago Sun Times
…she sang stylishly and expressively, especially in Fiordiligi’s big second-act aria in which guilt, confusion and weakening resolve mingle wonderfully in Mozart’s music. That the Puerto Rico-born soprano remains a convincing Mozartean despite her having taken on heavier roles like Rusalka and Tatyana in recent Lyric seasons says much about her as an artist.
“Martinez’s radiant soprano is infused with a poignant emotional intensity, and she suggests Fiordiligi’s moral struggle with great honesty.”