Maryann Mootos





“Mootos’ voice blossomed and she portrayed the heroine’s sacrifice and disintegration in a compelling manner ... When Germont, Alfredo’s father, demanded that she renounce his son, she really seemed to be pleading for her life and love. “Amami, Alfredo” was a cry from the heart, sung in gleaming tones. Mootos radiated heartbreak after Alfredo’s denunciation in the gambling scene, spinning Violetta’s soaring line in the big ensemble on a delicate, thin thread of tone. “Addio, del passato” and the death scene took wing in long bel canto phrases, Mootos’s  portrayal of Violetta’s loss of strength dramatically gripping.


South Florida Classical Review 

“Maryann Mootos’s anguished Giorgetta conveyed despair over the death of her child and daydreams of a better life in soaring soprano tones. Her gorgeous blending of timbres in duet with the dark-hued Luigi of Philip Alongi was one of the evening’s highlights.”


South Florida Classical Review 

“Maryann Mootos’ strong, yet beautifully tender soprano fearlessly confronts the conflicts and in her duets with Luigi and interaction with Frugola, Mootos unsparingly demonstrates Giorgetta's passion.”

“Maryann Mootos was impressive, with a full-bodied voice ... She had divine moments, including some dreamily soft high notes ...”


New York Concert Review

“Maryann carried the show, as Tatyana really must do in this opera. Her acting skills were spot on and you were absolutely convinced that she had translated, read, and reread and internalized every word and emotion of the Russian text ... Her high notes spun perfectly and the famous Letter Scene was absolutely stunning.”


The Opera