"The singer you didn’t want to stop hearing was lyric soprano Ana María Martínez." Read More...
— David Hendricks,
"Ana María Martínez contributed a radiantly vulnerable Mimi, consistently employing her darkly-textured lyric soprano with great sensitivity to dynamics and text. "Donde lieta uscì" emerged as the centerpiece of her interpretation, particularly with a delicate fining away of tone in the final phrases."
— Mark Thomas Ketterson,
"Grammy Award-winning soprano Ana Maria Martinez also brought a vibrantly gorgeous voice with her performance of “Ebben? Ne andro lontana” from Catalani’s “La Wally.”" Read More...
— Theodore P. Mahne,
"Alice was sung by Ana Maria Martinez, her radiant soprano moving as accurately and elegantly around the notes as she did in negotiating the physical intricacies or Carsen's staging."
— George Hall,
"Ana Maria Martinez sings the soaring lines of wily Alice Ford with rich ease and plenty of comic variety."
— Warwick Thompson,
"Martinez has a fantastic clarion tone and sings with all the power required by Verdi´s roust music coupled with the grace required by Mozart."
— Michael Migliore,
"Ana Mari Martinez gave us a velvety, mischievous Alice Ford."
— John Murphy,
Tides & Times
"Ana Maria Martinez, vocally resplendent as Alice Ford."
— Mark Valencia,
"Ana Maria Martinez’s radiant soprano melds with a winning personality to make her Alice special."
— George Hall,
"The ladies “collude” with a seaside postcard relish, Marie-Nicole Lemieux’s well-upholstered Quickly ripely countering lovely Ana Maria Martinez’ elegant shaping of Alice’s music."
— Edward Seckerson,
"Ana Maria Martinez is a bright-voiced and sexy Alice, a natural leader of women..."
— Martin Kettle,
"The Merry Wives are strongly cast. Ana María Martínez was a graceful Alice, with a lovely lyrical tone, well matched by Kai Rüütel’s Meg Page."
— Mark Pullinger,
"Ana Maria Martinez's pearl-voiced Alice."
— Amdrew Clark,
"Aside from the role of Simon, the part of his daughter Amelia is key. This was filled by soprano Ana Maria Martinez, who was glowing in the role, both vocally and dramatically" Read More...
— Robert R. Reilly,
Seen and Heard International
"And fortunately [Placido] Domingo is not the only strong performer in this cast. As Simon's long-lost daughter Amelia, who has fallen in love with her father's political rival, Puerto Rican soprano Ana María Martínez lights up the stage with both passion and innocence."
"Ana María Martínez has superbly crafted herself as the most credible Amelia with lyrical delicateness and captivating command of the challenging Verdi role" Read More...
— Christie Grimstad,
"Martinez has an ideal voice for Verdi, with fluidity throughout its range combined with excellent control that can float a pianissimo or rise to a dramatic crescendo." Read More...
— Jim Farber,
Pasadena Star News
"As the daughter Amelia, soprano Ana María Martínez brings a purity of soul and voice, creating a symbol for the beauty Boccanegra can never quite hold in his hands. Her solos are stunning, especially her magnificent pianissimos." Read More...
— Marc Porter Zasada,
LA Downtown News
"Martinez brought a secure, yet youthful lyric soprano sound (with a beautifully executed trill) to the role of the Doge’s daughter, Maria Amelia." Read More...
— Opera War Horses,
"Soprano Ana Maria Martinez delivered an extraordinary Rosina." Read More...
— Gregory Barnett,
"The soprano Ana Maria Martinez was luminous and imposing in the aria “Ch’io mi scordi di te ... Non temer, moto bene,” abetted by the pianist Arielle Levioff’s elegant playing." Read More...
— Steve Smith,
The New York Times
Placido Domingo shows Mexican side in massively attended concert
"Ana Maria Martinez showed why so many music critics consider hers the most beautiful voice of Latin America."
— EFE News Service,
Middle East North Africa Financial Network
"But the great performance of the festival was the poignant, sterling Mimì of Ana María Martínez: every phrase glowing and beautifully sculpted with admirable stylistic mastery."
— David Shengold,
"Ana María Martínez is effervescent as Rosina. One year ago we saw the dark, bittersweet side of her talent as Cio-Cio-San, and her ability to make this technically demanding role sound effortless, light and fun is incredible." Read More...
— Marcus Karl Maroney,
"Ana María Martínez, who gave such an introspective interpretation of the lead role in Madama Butterfly
last season, is a dream as Rosina, delivering unmistakable clarity and refreshing vocal buoyancy." Read More...
— Theodore Bale,
Culture Map Houston
"Lomeli saw his superb Rodolfo matched in quality only by his Mimì, Puerto Rican Ana María Martínez. The soprano tossed off a series of exquisite diminuendi in her "Mi chiamano Mimì" and managed reserved elegance during "Addio, senza rancor."" Read More...
— Paul Wooley,
Gleaming vocalism from two leads makes for a powerful "Boheme" in Santa Fe
"The soprano sang quite beautifully throughout with a striking degree of intimate expression and striking hairpin diminuendos. Her Donde lieta usci was the highlight of the evening, pure-toned, tender and suffused with sadness and regret."
— Lawrence A. Johnson,
The Classical Review
"Soprano Ana María Martínez proved an affecting Mimì, projecting a rich, resonant, well-centered tone with a rosy bloom." Read More...
— James M. Keller,
The New Mexican
"[Bryn Terfel] was joined in "Bess, You Is My Woman" by soprano Ana Maria Martinez, who stepped in on short notice. Martinez, I understand, learned the Gershwin music at the last possible moment, but she sang it beautifully. On her own, she also delivered an elegant account of "Vissi d'arte."
— Tim Smith,
The Baltimore Sun
"As Cio-Cio San, HGO Studio alumna Ana María Martínez sang with a poignant vitality that brought forth both the teenage Butterfly's youthful innocence and, later, her darkest despair." Read More...
— Gregory Barnett,