DIE OPERNWELT (Dezember 2023) · Götz Thieme
“Maria Miró in the title role, vocally fresh with secure coloraturas…”
EL PAIS (25.10.23) · Jorge Fernández Guerra
“Regarding the artistic team, let us highlight the cast dominated by soprano María Miró, who plays the unfortunate Ana Ozores with enormous skill, both vocally, musically and acting.”
OPERA ACTUAL (26.10.23) · Jose María Marco
“The soprano María Miró is in charge of giving life to Ana Ozores, present on stage throughout the performance, with moments of high vocal demand, including some coloraturas: she did it very well, with a firm voice, very beautiful, well placed and capable of the most varied nuances.”
LA NUEVA ESPAÑA, (26.10.23) · Cosme Marina
“A cast in which María Miró builds an exceptional Ana Ozores, vocally and scenically. She perfectly embodies the fragility and confusion of the character.”
LA NUEVA ESPAÑA- La Regenta crítica y entrevista 1-261023 / LA NUEVA ESPAÑA- La Regenta crítica y entrevista 2 261023
PLATEA MAGAZINE (29.10.23) · Enrique Bert
“María Miró does not leave the stage at any time and is the character around which the entire opera revolves. Ana Ozores is a demanding character both in acting and in singing and the Catalan soprano was up to the task. On the dramatic side, she is a character who walks through all possible registers while vocally responding to all the composer’s demands.”
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LE SALON MUSICAL (29.10.23) · Ricardo Ladrón de Guevara
“Ana Ozores, brilliantly played by María Miró, is alone on her stage, the space belongs to her and she only fills it. The nudity on stage is such that it is assisted in dramatic action many times to dress and undress the character with all kinds of costumes. But María Miró is only assisted by her wonderful voice to give life to this complex woman she emulates. It is surprising how the script has managed to minimize and condense the very complex character of the novel and reduce her to a torrent of contained emotions and not to a woman who emanates strength, passion and is in herself a real and true fact. The work of the Spanish soprano is brilliant.”
Le Salon Musical- Madrid_ con La Regenta la Spagna trova il suo posto nell’opera contemporanea
EL CULTURAL (03.11.23) · Álvaro Guibert
“The two leading voices stood out in the cast: María Miró, spectacular in her enormous and difficult role, (…)”
EL CULTURAL- Marisa Manchado convence con ‘La Regenta’
EL MUNDO (25.10.23) · Tomás Marco
“The performers defended the work very adequately since María Miró offers a credible Ana Ozores, well sung.”
LA VANGUARDIA (25.10.23) · Javier Herrero
“Faced with the terrible truth of the story, the applause of the public attending the world premiere held at the Naves del Español in Madrid in response to this reinterpretation, a little stronger for the musical part and, above all, for the performance of the lyrical soprano María Miró in the leading role.”
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CULTURA MÁS (26.10.23) · Horacio Otheguy Riveira
“María Miró, La Regenta, a model protagonist for an unprecedented character in the history of opera, here consecrating the perfect union of the genre with literature, gestural theater and a plastic conception that delves into the edges, lights and shadows of a feminine process in a society where men fear and desire the opposite sex.”
EL CORREO DE ANDALUCÍA (28.10.23) · Mari López
“The singers perform the roles entrusted to them with professionalism and good vocal means. In addition to the excellent protagonist, María Miró, very expressive musically,”
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SCHERZO (27.10.23) · Ismael G. Cabral
“The performance of María Miró was very good, a soprano with not a big voice but good ringing tone, assured projection and more than enough technique to handle the main role.”
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ABC (25.10.23) · Alberto González Lapuente
“An essential part is the formidable work of musical director Jordi Francés, capable of harmonizing the instrumental group with the same intention. It has its correspondence in the soprano María Miró, defender of a demanding score.”
BECKMESSER (28.10.23) · Mario Muñoz Carrasco
“Special mention for Maria Miró (Regenta) with a demanding and required role.”
