The New York Observer

“The Met turned to Ms. Martínez, whose scant resume with the company until now has included only a handful of performances of Carmen and La Bohème in 2005 and 2015, respectively.  Friday night’s triumph may well leave the Met’s management wondering how it let such a gem slip through its fingers. She sang the music with sensitivity and poise, never forcing her slender instrument. In a role that tempts many sopranos to attempt exaggerated effects—such as a singsong voice in the first act to indicate Butterfly’s child-bride status—she always remained true to her natural timbre.”

“Within this naturally dark, complex sound, Ms. Martínez accomplished numerous feats of breathtaking virtuosity, as, for instance, in Butterfly’s entrance when she soared up to a delicate pianissimo high D-flat. Most sopranos belt that note or simply omit it; Ms. Martínez made it into a whispered expression of sheer enchantment.”

“What impressed most perhaps was the seamless nature of her singing. There was no sense of “here comes the big aria” or “now, having sung the big aria, I’m going to relax for a while,” which you get in so many performances. The celebrated second-act solo, “Un bel di vedremo,” began so subtly that it took one by surprise, and even after the last note, a firm and bright high B-flat, she continued enacting the character’s ecstatic sense of determination, gradually “coming back to earth” as she slowly left the room and shut the screen behind her.”