As Violetta (University of Colorado Opera Theater)

Nick Romeo, The Boulder Daily Camera

Slender and striking in a white gown, soprano Emily Martin runs no risk of causing laughter by her portrayal of a seductive courtesan. At the party that opens the first act, she flits about the stage like coyness incarnate, caressing one potential lover as she slips out of the grasp of another. But after the glittering brilliance of the opening, we get hints that beneath her flirtatious exterior she yearns for fidelity. Martin convincingly dramatizes Violetta's vacillation between these extremes and gives a thrilling display of vocal agility in the famous aria "Sempre Libera."

As Fiordiligi (Chautauqua Opera)

Robert W. Plyler, The Post Journal

Emily Martin and Faith Sherman were both lovely as the women in question. Ms. Martin was Fiordiligi, the soprano of the pair. Her voice was light and very clear, and it wound itself fetchingly around all the composer's intricate twists and bends.

As Contessa dei Candini (Skylight Opera Theatre)

Julie McHale, TimeOut

Emily Martin's acting was noteworthy.

As Musetta in La Boheme (Opera Birmingham)

Michael Huebner, The Birmingham News

Soprano Emily Martin played Musetta with appropriate flightiness. Martin adapted nicely from sassiness to bright radiance.

As La Charmeuse in Thais (Palm Beach Opera)

R. Spencer Butler, Palm Beach Daily News

Lyric soprano, Emily Martin as Charmeuse added coloratura sparkle and dazzling visual interest as the scarlet-garbed entertainer with her four accompanying graceful dancers.

As Susanna in Le Nozze di Figaro (Chattanooga Opera and Symphony)

Nikki C. Hasden, Chattanooga Times Free Press

CSO PRESENTS EXQUISITE FIGARO [Headline] "Burns and lyric soprano Emily Martin as Susanna make a feisty central couple, their voices strong and persuasive."

As Casilda in Gondoliers (Chautauqua Opera)

Chuck Klaus, Chautauquan Daily

"As Casilda, daughter of The Duke and Duchess of Plaza-Toro, Emily Martin's beautifully produced soprano and wonderfully alert comic playing make her the ideal principal heroine in the property."

As Niece 2 in Peter Grimes (The Santa Fe Opera)

Craig Smith, The Santa Fe New Mexican

“Emily Martin and Bronwen Forbay made an alluring pair of “nieces” for Auntie."

As Niece 2 in Peter Grimes (The Santa Fe Opera)

Maria Nockin, Opera Japonica

“Auntie's nieces were impressively sung and acted by the attractive second year apprentices, Emily Martin and Bronwen Forbay.”

As Lucy in The Telephone and other arias (The Artist Series of Sarasota)

Gayle Williams, Sarasota Herald Tribune

“Martin’s voice was a delight, not overly complex and overworked. Rather, with a supple band of sound she was able to convey an array of emotions along with clear diction and shining countenance. She easily shifted from the gay naiveté of Romberg’s ‘Desert Song’ to the saucy appeal of Puccini’s ‘Quando m’en vo’ from ‘La Boheme’. Martin was at her solo stunning best in Kern’s ‘All the things you are’, the ultimate cabaret song in this listeners book. There was an enchanting iridescence in her voice that added nuance upon nuance with each longing phrase. Her real comedic talent was reveled in the second portion of the program in Menotti’s ‘The Telephone’. Timing and stage movement were all exceptional. And yes, the vocal talent was at its tops as well.”

As Soprano Soloist in Mahler Symphony No. 2 (Fargo-Moorhead Symphony)

Tom Pantera, The Fargo Forum

“When….and soprano Emily Martin take center stage in the fifth movement, their distinctly different voices combine beautifully. …blends with Martin’s clear, soaring tones."

As Liu in Puccini's Turandot (Nevada Opera)

Richard LaComte, Reno Gazette-Journal

"Emily Martin…gives outstanding performances [HEADLINE] The two outstanding members of the cast are Martin, as Liu, whose strong, emotional voice brings oomph to her big third-act scene …"

As Guest Artist in A Gershwin Celebration (Syracuse Symphony)

David Abrams, The Post Standard

“Soprano Emily Martin was a most pleasant addition to the performance, combining the warmth and intimacy of a cabaret lounge singer with the trained vocal prowess and powerful delivery of an opera diva. Moreover, her stage presence was consistently outstanding – lending dramatic integrity as well as warmth and expression to “But Not for Me,” and “The Man I Love”.”

As Water in Portman’s The Little Prince (Skylight Opera Theatre)

Tom Strini, Milwaukee Journal Sentinel

“Fine voices highlight opera’s premiere [HEADLINE] A cornucopia of delight. The ear is charmed to have the sweet sound of Martin.”

As Curley’s Wife in Of Mice and Men (Opera Grand Rapids)

Jeffrey Kaczmarczyk, The Grand Rapids Press

"Lyall outdid himself with the casting of versatile actors and gutsy singers. Martin captivated the audience with the much meatier part as a woman hungry for attention. While singing some gol’ darn difficult music with a gossamer voice, Martin shrewdly played a complex, calculating woman who’s flirtatious, manipulative, sweet and self-absorbed all at once."

As Soloist in Handel’s Judas Maccabaeus (Connecticut Master Chorale)

Jim Pegolotti, The Danbury News Times

“The soloists proved to be outstanding. Martin delivered her arias with exceptional musicality. In ‘O Liberty, thou choicest treasure’, her voice floated from tone to tone with ease and warmth. In her final aria, ‘So shall the lute and harp awake’, upon the word ‘sprightly’ she produced a deeply satisfying melismatic filigree. At the aria’s conclusion she pulled out of the air the most brilliant of high notes. It was an impressive performance.”

As Soloist in Viva 35! (Opera Grand Rapids)

Jeffrey Kaczmarczyk, The Grand Rapids Press

“Martin gave an entertaining performance to treasure with ‘Glitter and be Gay’ from ‘Candide’. She switched emotions as easily as flipping a light switch while mesmerizing the audience with the crystal clarity and wide range of her lovely lyric soprano. As the quartet from ‘Rigoletto’ proved, Lyall cast four superbly match solo voices. Martin and Rodolfo were a perfect pair of lyric leads in the trio of arias from ‘La Boheme’. Neither let the lack of stage trappings stop them from solid acting performances.”

As Soloist in French Opera Gala (Charlotte Symphony)

Naomi Donson, Charlotte Herald-Tribune

“The evening caught fire with the arrival of Martin. Her agile voice could leap from lightness to surprisingly forceful intensity, a versatility she demonstrated in ‘Depuis le jour’. Even more notable was her acting ability, seamlessly interwoven with her singing, which convinced you of the heroine’s happiness and other less sanguine emotions. Exercising their dramatic and vocal talents to their fullest, both soloists portrayed Shakespeare’s immortal couple in Gounod’s ‘Romeo and Juliet’. Martin especially suggested the tremulous young heroine apprehensive of foreshadowed doom.”

As Donna Anna in Don Giovanni (Skylight Opera Theatre)

Tom Strini, Milwaukee Journal Sentinel

“It opens with Martin in a sexual romp with Don Giovanni. Not too many lyric sopranos would look so fetching as Martin does in heels, stockings, garter belt and bustier; fewer still would dive out of a window with such agility when the Commendatore barges in. That’s a brilliant shift from the usual portrayal of Anna as innocent victim. It raises the possibility of a much more conflicted character, and Martin makes the most of her. Here, in a courageous performance, she’s a spoiled, promiscuous, coke-sniffing bottle-blond, still sexy but hard and old before her time. She put an edge on her voice, too, and made Anna a chilling, compelling mess.”

As Micaëla in Carmen (Opera Grand Rapids)

Jeffrey Kaczmarczyk, The Grand Rapids Press

“The stars were stellar. It was Martin who earned the biggest round of applause of the night for an achingly beautiful performance of Je dis que rien ne m’epouvante.”

As Soprano II in Bach's Mass in b (Syracuse Symphony)

David Abrams, The Post-Standard

“You need vocal soloists who can sing expressively and whose timbres match one another. Hege had all in a quintet of superb singers. Martin sang expressively and matched timbres quite well, particularly during the Christe eleison.”

As Hiram Titus' Rosina (Skylight Opera Theatre)

Tom Strini, Milwaukee Journal Sentinel

“Martin stands at the center of it all, in the title role. Martins singing vividly painted the changes in Rosina; phrases died away in poignant sighs in Act 1, but expanded assertively in Act 2. Her voice is lovely, even when expressing anger, and she is a marvelous actress. Her solidity on stage and inner calm are appealing.”

As Soloist in Brahms' Ein Deutsches Requiem and Barber's Knoxville: Summer of 1915 (Anchorage Festival of Music)

Marilyn Blumer, Anchorage Daily News

STIRRING FINISH TO FESTIVAL [Headline] “The two guest soloists gave their all. Martin was a vision in a full-length gown of midnight blue velvet. She made it look easy to reach notes few are able to master in the fifth movement. Her voice filled the theater. Chorus, orchestra and soloists were in full form and full voice, delivering emotion powerful enough to move the listeners soul. Martin has a clear voice with wonderful diction and enunciation. She performed with joy, enthusiasm and personality. The ovation was much larger than the small crowd would suggest. They could have listened all night and still begged for more.”

As Susanna in Le Nozze di Figaro (Academy of Vocal Arts)

Lesley Valdes, The Philadelphia Inquirer

“Martin was such an ideal Susanna, spunky, her mind far ahead of her mates...tremendous élan”

As Musetta in La Bohème (Academy of Vocal Arts)

Daniel Webster, The Philadelphia Inquirer

“Martin managed to be a complex of shallowness and depth while singing the part with the kind of security and flair welcome in the part...dramatically energetic and skillful.”

As Susanna in Le Nozze di Figaro (Boston University)

Richard Dyer, The Boston Globe

“The best operatic production in the city since Caldwell closed up shop. Everyone was able to put a personal stamp on his or her role and touch something real. Above all, it was richly human. There is real professional potential in the fresh and spunky Susanna of Emily Martin. A Figaro such as this one contributes to the quality of our lives.”

 

SELECTED UPCOMING ENGAGEMENTS
Recitals in Memphis, Mississippi, Texas, Toronto and Paris
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As Guest Artist in A Gershwin Celebration (Syracuse Symphony)

David Abrams, The Post Standard

“Soprano Emily Martin was a most pleasant addition to the performance, combining the warmth and intimacy of a cabaret lounge singer with the trained vocal prowess and powerful delivery of an opera diva. Moreover, her stage presence was consistently outstanding – lending dramatic integrity as well as warmth and expression to “But Not for Me,” and “The Man I Love”.”