AUDIO (INTERVIEW FROM 17:54 TO 34:00):
PRESS
INTERVIEW ABC- FEBRUARY 2026
INTERVIEW DOCE NOTAS- FEBRUARY 2026
REVIEWS ARIADNE ET BARBE-BLEUE AT TEATRO REAL OF MADRID
Mundo Clásico (20.02.26) · Germán García Tomás
“Regarding the wonderful contributions of the five wives, the Catalan soprano María Miró showcases as Mélisande brushstrokes of great finesse and brilliance during the collective scene of the second act.”
https://www.mundoclasico.com/articulo/45942/sumisas-de-hoy
Brioclásica (02.26) · Paloma Sanz
“the beautiful timbre and powerful middle voice of Maria Miró”
https://brioclasica.es/critica/26196/
Codalario (13.02.26) · Raúl Chamorro
“to highlight the beautiful and full-bodied voice of María Miró, from Barcelona.”
Connessi all’Opera (11.02.26) · Jorge Binaghi
“Maria Miro’s Mélisande is equally outstanding.”
https://www.connessiallopera.it/recensioni/2026/madrid-teatro-real-ariane-et-barbe-bleue/
Seen and Heard International (18.02.26) · José M. Irurzun
“Bluebeard’s wives were well covered vocally and moved appropriately on the stage. Aude Extremo was a remarkable Sélysette, and María Miró as Mélisande was also good.”
Première Loge (16.02.26) · Stéphane Lelièvre
“Among Bluebeard’s wives, all very assertive vocally, Maria Miró (Mélisande) and Aude Extrémo (Sélysette) stand out in particular”
Classique News (28.01.26) · Sabine Teulon-Lardic
“The listener appreciates the vehement soprano of Maria Miró (Mélisande)”
L’Ape Musicale (15.02.26) · Luigi Raso
“The quintet of Bluebeard’s wives is very well assorted, (…) Jaquelina Livieri, Ygraine, María Miró, Mélisande, and Renée Rapier, Bellangére, stand out for their perfect integration into the performance and their musical precision.”
Pro Ópera (08.02.26) · Daniel Lara
“The performances of the sopranos Jaquelina Livieri (Ygraine) and María Miro (Mélisande) were also very effective.”
https://proopera.org.mx/ariane-et-barbe-bleue-en-madrid/
Platea Magazine (01.02.26) · Enrique Bert
“Very efficient Jaquelina Livieri (Ygraine), María Miró (Melisande) and Renée Rapier (Bellangére).”
INTERVIEW MELOMANO DIGITAL
Interview- Hinves Artist of the month (August 2025)
REVIEWS MICAELA IN BIZET’S CARMEN- TEATRO MAESTRANZA SEVILLA
ABC (19.06.25) · Carlos Tarín
“On the other hand, not even that micron can be asked of María Miró’s impressive Micaela: a lyric soprano with a silky, caressing, warm timbre, extraordinarily clear in her diction and intentions, she signed an exceptional duet with Don José, in which Del Cerro was also involved, to culminate with her only aria, ‘Je dis que rien ne m’épouvante”, of intense melodicism, which she sang in an exciting way, full of passion, especially when in its central part she firmly affirms that she will not be afraid of Carmen.”
Platea Magazine (19.06.25) · Javier del Olivo
“The singer who received the biggest applause from the audience, both at the end of the performance and after her famous aria ‘Je dis que rien ne m’épouvante’, beautifully delivered in an extraordinary way, was soprano Maria Miró as Micaela. This moment, along with the tenor’s aria, were the best of the night. In the case of Miró, we must highlight her beautiful and ringing tone and powerful voice, the biggest of the entire main cast.”
PLATEA MAGAZINE_Crítica 19.06.25
Scherzo (24.06.25) · Andrés Moreno Mengíbar
“María Miró was the sweet and innocent Micaela of the libretto, with an angelic, coloured voice and delicate singing.”
INTERVIEW PLATEA MAGAZINE
INTERVIEW RADIO CLASICA (RADIO NACIONAL DE ESPAÑA)
LA REGENTA- TEATRO CAMPOAMOR OVIEDO
Opera Actual (11.04.25) · Jonathan Mallada
“Ana Ozores was masterfully portrayed by María Miró, who was very secure vocally, showcasing sharp high notes and a polished timbre full of expressive nuances.”
Opera World (11.04.25) · Pablo Álvarez Siana
“The soprano María Miró portrayed this full, empowered Regenta in an evolution of her character throughout the performance: prude with the devout women, sorrowful in the procession, restrained with El Magistral, passionate with Mesía, and even consumed by remorse (and confinement), with that so conclusive and anguished phrase of ‘I am so alone, so stiff.’ Her singing was always careful, intimate, and powerful, with a beautiful and uniform vocal timbre, without fissures in the few coloraturas that MM (as Amelia Valcárcel calls the composer) writes for the protagonist, especially in the last act of her third opera.”
Scherzo (12.04.25) · Miriam Perandones
“Among the cast, soprano María Miró stood out in the role of the Regenta, with a powerful voice, a beautiful and uniform timbre in the predominantly expressive recitative melodies of the score, and a great acting performance.”
La Nueva España (12.04.25) · Ramón Sobrino
“The soprano Maria Miró, omnipresent on stage, has been magnificent as a singer and actress in the demanding role of La Regenta.”
Platea Magazine (14.04.25) · Enrique Bert
“María Miró managed to portray a Regenta of one piece again, perhaps more submissive than rebellious, showcasing a remarkable voice and an absolute dramatic credibility.”