Ana María Martínez

Introduction

Askonas Holt is delighted to be the European management for Ana María Martínez.  Her recent appearances have included her first Alice Ford in the new production of Falstaff at the Royal Opera, Covent Garden, Antonia (Les contes d'Hoffmann) for the Opera National de Paris, Rusalka, Mimi (La bohème) and Antonia for the Bayerische Staatsoper, and Mimi for the Lyric Opera of Chicago. Engagements include her return to Chicago for Desdemona (Otello) and Rusalka, to Munich for Mimi and Butterfly, to the Wiener Staatsoper for Butterfly, and she sings her first Carmen for Houston Grand Opera.

Please contact Marcus Spreitzer or Mary Donald for a current biography

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News & Features

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Press

Dvorak

Rusalka

Lyric Opera of Chicago

"As Rusalka, soprano Ana Maria Martinez has one of the touchstone roles of her career. Lyric's just-named "community ambassador" (along with co-star Eric Owens) indelibly embodies the longing and desperation of the water nymph whose desire to be human and whose passionate love for a fickle prince spell tragedy for both. You simply cannot take eyes or ears off her, even during the long stretches of the opera when she's not singing a note."
John von Rhein, Chicago Tribune, 24th February 2014
"Martínez’s Rusalka, beguiling in more ways than one, is a gentle creature whose silvery voice conveys her innocence in a ravishing “Song to the Moon” and just as affectingly captures the heartbreak and despair of two soaring arias in the final act. Hardly less compelling is Martínez’s complete silence, at the palace in Act II, as the mute and frightened nymph struggles to understand, to communicate, to keep her lover from abandoning her for another woman."
Lawrence M Johnson, Chicago on the Aisle, 23rd February 2014
"In addition to her stunning yet naturalistic singing, she is balletic in her movements and psychology for her long silences. That she and her prince, American tenor Brandon Jovanovich, gave these roles together in Glyndebourne in 2009 clearly did not hurt. Their singing was both heroic and nuanced and their physical and musical pairing heartbreaking."
Andrew Patner, Sun-Times, 23rd February 2014
"Those with fond memories of Ana María Martínez's touching assumption of the title role at Glyndebourne in 2009, alongside Brandon Jovanovich's storybook Prince, will be pleased to know their romantic chemistry was every bit as potent five years later on the other side of the pond. The Puerto-Rica-born soprano embodied, in luminous voice and manner, Rusalka's passionate longing for a man's love and her poignant desolation when she realizes her hopes are doomed. The dramatic intensity of her performance was thrilling" John Von Rhein, Opera May 2014

Puccini

Madama Butterfly

Wiener Staatsoper

To read the review please click the link below. Der Neue Merker

Stars of the Lyric Opera of Chicago

Millenium Park

"This was the third “Stars” appearance for Puerto Rican native Ana María Martínez, and judging by the exuberant audience reaction, she has secured a sizable local fan base. The lyric soprano made a vivid impression in past seasons in Il Pagliacci, Faust, and La bohéme at the Civic Opera House, and she opens this season in October as Desdemona in Verdi’s Otello, returning in February for the title role of Dvorak’s Rusalka.

Her smoky, darkly colored Cio-Cio San from Puccini’s Madama Butterfly proved richly textured and emotionally resolute in Un bel di vedremo, while her love duet with James Valenti, a sonorous and powerful Pinkerton (he will star in Lyric’s Butterfly in October), proved the evening’s most affecting highlight."

To read the full review, please click here
Chicago Classical Review/ Michael Cameron / 9 September 2013

Puccini

La bohème

Lyric Opera of Chicago

"Martinez knows a lot about how to strum those heartstrings and does so wonderfully here. The Puerto Rico-born soprano sounded fresh and radiant on Monday, her phrasing nuanced and full of alluring colorations. Her singing and acting were as one, creating a believably fragile heroine whose fate we really cared about. Her "Donde lieta usci," in which Mimi told her lover they should part without bitterness, was most affectingly sung, sealing her triumph in this, her signature role. It is not for nothing that Lyric has big plans for Martinez in future seasons. One awaits those upcoming appearances eagerly."
John von Rhein / Chicago Tribune / 23 January 2013

Interview with Chicago Tribune

Lyric Opera of Chicago

'La Boheme' star Ana María Martínez is no diva offstage...

To read the full interview, please click the link below. Chicago Tribune / John von Rhein / 15 January 2013

Verdi

Falstaff

Royal Opera, Covent Garden

"Martínez has a fantastic clarion tone and sings with all the power required by Verdi’s robust music coupled with the grace required by Mozart." Michael Migliore /MusicalCriticism.com / May 2012
"Ana Maria Martinez sings the soaring lines of wily Alice Ford with rich ease, and plenty of comic variety." Warwick Thompson / Bloomberg / May 23, 2012
"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 / The Independent / 16 May 2012
"The high-quality cast provides one or two hard to match performances....Ana Maria Martinez’s radiant soprano melds with a winning personality to make her Alice special."

George Hall / The Stage / 16 May 2012

Verdi

Simon Boccanegra

Los Angeles Opera

"As Boccanegra’s daughter, Ana María Martínez looked ravishing and sang with a slender, silvery soprano, negotiating the trills in the pleas for peace with confidence." Los Angeles Times / 12 February 2012
"Aside from the role of Simon [Placido Domingo], 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. The glorious recognition scene between Amelia and Simon, in which the father and daughter reunite after 25 years, was everything one could wish it to be, with complete cohesion of acting, singing, and pit." Seen and Heard International / 24 February 2012

Rossini

Il barbiere di Siviglia

Houston Grand Opera

"As spunky heroine Rosina, Martinez thoroughly captivated as she breezed through Rossini's treacherous coloratura. She's a natural in this type of role, and she sparkled with feisty charm." D.L.Groover / Houston Press / 24 October 2011

Recordings

DVORAK: Rusalka

Recorded live at Glyndebourne in August 2009

Conductor Jiří Bĕlohlávek

Ana María Martínez
Brandon Jovanovich
Larissa Diadkova
 Mischa Schelomianski
Tatiana Pavlovskaya

The London Philharmonic Orchestra
The Glyndebourne Chorus

"…the best issue from the Glyndebourne archive to date….An unmissable classic." -The Sunday Times


Glyndebourne

Amor, Vida de Mi Vida

Zarzuelas by Placido Domingo and Ana Maria Martinez

Filmed at the Salzburg Festival (2007) with the Mozarteum Orchestra under the direction of Jesús López-Cobos.
EuroArts

MOZART Così fan tutte

Filmed at the Salzburg Festival (2006).

Ana María Martínez (Fiordiligi)
Sophie Koch (Dorabella)
Shawn Mathey (Ferrando)
Stéphane Degout (Guglielmo)
Sir Thomas Allen (Don Alfonso)
Helen Donath (Despina)

Wiener Staatsopernchor
Wiener Philharmoniker
Manfred Honeck (Conductor)
Direction: Ursel Herrmann, Karl-Ernst Herrmann
Continuo: Rachel Andrist
DECCA