Ana María Martínez



Grammy Award® winner Ana María Martínez is considered to be one of the foremost sopranos of her time, with an international career that spans the world’s most important opera houses and concert halls.  With a repertoire that encompasses opera’s most intriguing and diverse leading ladies, she engages her audiences season after season with signature roles, spellbinding debuts, and a myriad of captivating recordings.   Opera News’ recent cover story on Ms. Martínez declared that her “soprano harks back to the golden age.  Her range is even, from a dusky chest-voice through a claret-colored middle and up to radiant top, and is impressive in its quiet moments as it is at full power.” Ms. Martínez will be heard during the 2018 – 2019 season with the Los Angeles Opera as both Elisabetta in their production of Don Carlo and as Solea in El Gato Montes opposite Plácido Domingo in the title role.  She  joins Vienna Staatsoper as Cio-Cio San in Madama Butterfly and Houston Grand Opera as the title role in Florencia en el Amazonas. 

The stunning soprano began the 2017 – 2018 season in the title role of Carmen with Los Angeles Opera where she “oozed sexuality and mischief as the opera’s flawed protagonist, seen at its peak during her Seguidilla. Martínez is as fine an actress as she is a musician — her thick lower register made her execution all the more alluring.” (Opera Wire) She joined Teatro Colon in Buenos Aires as Rusalka, Lyric Opera of Chicago as both Fiordiligi in Cosi fan Tutte and Marguerite in Faust, Royal Opera House Covent Garden as Alice Ford in Falstaff, Florida Grand Opera as the title role in Florencia en el Amazonas, and finally Santa Fe Opera as Cio-Cio San in their production of Madama Butterfly.  On the concert stage she joined the Los Angeles Opera Orchestra in honor of Plácido Domingo’s 50th Anniversary, sang Verdi’s Requiem in San Sebastian, Spain, with Maestro Domingo conducting, offered solo concerts with the San Antonio Symphony, and was heard in recitals throughout the United States.

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“Back at Lyric was the charismatic soprano Ana María Martínez, whose beautifully sung and finely detailed Marguerite was the linchpin of [the] performance. Not only did she deliver the Jewel song with sparkling coloratura, this spirited singing actress was fully in the moment, conveying the heroine’s emotional trajectory from virginal innocence to disillusion, despair, madness and apotheosis.”

John von Rhein, The Chicago Tribune

“…the wonderful Rusalka of Ana María Martínez. What a special performance this is. Martínez does not immediately reveal what might be considered the classic Rusalka voice but she sings from such a deep core of longing, intensified by the courage of her conviction in the big releases and softened by the benevolence of melting portamento in the many moments of fragility that you totally buy into the belief that she can sing just about anything. Equally remarkable is the long stretch of act two where she doesn’t sing at all (how daring of Dvořák to silence his leading lady at the very centre of the drama). How movingly she conveys this lost child of nature marooned centre-stage on her wedding day as handmaidens apply the unwelcome ‘feminine’ touches”

Edward Seckerson, The Independent

More Reviews

“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.”

Max Loppert, Opera Magazine

“And it’s here that Martínez really shines: despairing, defiant, but defeated. The fragility of her light soprano, appealingly coloured with some darker tints, is at its best when it comes to the purely lyric demands of the closing scene, and Violetta’s whispered breaths showed off that softness to a tee.”

Neil Fisher, The Times of London

“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. “

Robert Sharon, Palm Beach Daily News

“The dazzler is the Rosina of Ana María Martínez…She’s every inch the feisty, hot-blooded Spanish girl, tossing off the coloratura with fluidity as well as accuracy. In a role originally conceived for a mezzo she also supplies a smoldering lower register.”

Scott Cantrell, The Dallas Morning News

“Soprano Ana Maria Martinez delivered an extraordinary Rosina. There is, first, her voice — warm, powerful, richly sustained, but also as agile as any bel canto aria might require. Then there was the way she gracefully stepped, twirled and pranced throughout the night as the pert, lovestruck and scheming young girl.”

Gregory Barnett, Opera News

“Houston Grand Opera maestro Patrick Summers augments the shimmering radiance in Puccini’s lush, exotic scene, while soprano Ana Maria Martinez, making her role debut as Cio-Cio-San, sounds fresh and ethereal as her silken voice sails over the orchestra, as if some fragrant breeze has ruffled the cherry blossoms…… Martinez strikes a lovely figure in a kimono, and she’s a convincing actress as the girl who must grow up much too fast….her voice is immensely pleasing and terrifically sensual.”

D.L. Groover, Houston Press

“Ana Maria Martinez’s vibrant, shining soprano was a true fortress of resolve in the perilous leaps and plunges of Fiordiligi’s difficult showpiece, “Come scoglio.” The American singer brought off both of her arias to stunning effect and received properly thunderous ovations.”

John von Rhein, Chicago Tribune

“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. Martínez’s best moments coincided with Butterfly’s most desperate ones: the fragile quality to her singing in “un bel dì” underscored a deeply affecting, pitiful clinging to hope beyond all reason, and her hallowed out, hard, nearly lifeless timbre when Sharpless finally convinces Butterfly that Pinkerton has discarded her brought home the demise of hope in that moment. Both created scenes of gripping drama.”

Gregory Barnett, Opera News

“Ms. Martínez is very poised, well trained, and mature…a dignified charm. Is it possible for charm to be dignified? I believe so, and Ana María Martínez embodies this quality. As for the soprano, she never lost her poise, never lost her charm, and never ceased to be winning. When the evening was over, a famous singer in the hall said in a private conversation — which is important — ‘She sang perfectly. Perfectly.’ And it was true. (Ms. Martínez is a fine Mozart singer, by the way.)…she didn’t put a foot wrong.”

Jay Nordlinger, The New York Sun

“The bright-voiced soprano Ana María Martínez gave a vocally agile and emotionally fraught portrayal of Donna Elvira, unhinged in her determination to find Giovanni, who had abandoned her, and shame him into loving her.”

Anthony Tommasini, The New York Times

“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.'”

Walter B. Bailey, Opera News

“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.”

The Sunday Times

“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].”

Mark Thomas Ketterson, Opera News

“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.'”

Andrew Patner, The Chicago Sun Times

“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.”

Susan Larson, The Boston Globe