OPERA ACTUAL (27.05 24) · César Rus
” Of the female characters, it is worth noting the difficulty of Cruz’s role, which combines a heartbreaking drama, as well as passages of remarkable lyricism, and Maria Miró was its ideal performer. Carmen Artaza as Tránsito was also magnificent…”
OPERA WORLD (29.05.24) · Pedro Valbuena
“Cruz, Emilio’s wife trapped in post-war Spain, is a disturbing presence very well embodied by Maria Miró, who sang confidently and showed the hieraticism typical of people who suffer greatly.”
SCHERZO (24.05.24) · Justo Romero
“The mezzo Carmen Artaza (Tránsito, his Mexican partner) and the soprano Maria Miró (the wife who stays in Spain, with the children and the darkness of the post-war period; in rigorous black, in the style of Bernarda Alba) were also pillars of the vocal cast, in which the baritone Toni Marsol (Alfredo) and the tenor Pablo García López shone no less”
VALENCIA NEWS (28.05.24) · Francisco Bueno Camejo
“The Galenic dimension of the soprano from Barcelona Maria Miró worked in her favour, since she knew how to exploit in her interpretation the tortuous outcrops of the subconscious. She is an excellent singer, with a fleshy voice, ideal for the role she played.”
FORUM OPERA (29.05.24) · Yannick Boussaert
“Maria Miró assumes again (as in 2021) the role of her wife Cruz, to whom she gives maternal accents, even in the scenes of argument. Here again, it is with her son Pedro that she proves to be the most moving.”