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María José Montiel

Mezzo / Alt


Charlotte Werther for Teatro Massimo, Palermo, Ulrica Un ballo in maschera (Israel Philharmonic Orchestra, Zubin Mehta), Carmen (Teatro San Carlo), Carmen Florida Grand Opera, Dalila Samson et Dalila (Opera de Monterrey Mexico), Federica Luisa Miller (Teatro Real Madrid), Maria Moliner (Teatro de La Zarzuela, Madrid), Mahler Symphony no. 2, 3 (Orquestra Sinfónica Portuguesa)


Amneris Aida, Giulietta Les contes d’Hoffmann, Leonora La Favorita, Sesto La clemenza di Tito, Le nozze di Figaro, Dorabella Così fan tutte, Rosina Il Barbiere di Siviglia, Federica Luisa Miller (Milan, Bologna, Venice, Pisa, Livorno, Lucca, Trieste, Parma, Strasburg, Cologne, Paris, Vienna, Tokyo, Barcelona, Madrid), Salud La vida breve Manuel de Falla (Teatro Real Madrid)


Verdi Requiem (Vienna, Frankfurt, Milan, Budapest, Tokyo, Leipzig), Berlioz Les nuits d’été, Mahler Second and Eighth Symphonies, Berlioz Scenes from Faust, Vivaldi Gloria, Beethoven 9th Symphony, Rossini Stabat Mater, Petite Messe Solennelle, Ravel Schéhérazade, Brahms Alto Rhapsody, Mahler Lieder eines fahrenden Gesellen


Riccardo Chailly, Placido Domingo, Zubin Mehta, Lorin Maazel, Pinchas Steinberg, Miguel Angel Gomez Martinez, Daniel Oren, Garcia Navarro, Xian Zhang, Wayne Marshall, Adam Fisher, Horst Stein, Charles Dutoit, Vladimir Spivakov, Jesús Lopez Cobos, John Paul Decker, Garcia Asensio, José Collado, Lawrence Foster, Odon Alonso, Janos Kovacs, Neville Marriner, Jeffrey Tate, Maurizio Benini, Jacques Delacôte


Teatro Campoamor Opera Award Ceremony (Best Female Singer, 2012), 2010 Gran Teatre del Liceu Barcelona Award, Lucrecia Arana award, SGAE Federico Romero prize, RNE Ojo Crítico award, CEOE prize, Spanish Coca-Cola Foundation award for best singer, 2007 Community of Madrid Culture Prize in the Music section

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February 2017

Bizet - Carmen - Carmen

Kursaal Donostia - San Sebastián

Andrea Albertin, Conductor

Ekaitz Unai Gonzalez, Stage Director


Bizet - Carmen - Carmen

Kursaal Donostia - San Sebastián

Andrea Albertin, Conductor

Ekaitz Unai Gonzalez, Stage Director

November 2016

Bizet - Carmen - Carmen

Florida Grand Opera

Ramón Tebar, Conductor

October 2016

Puccini - Edgar, in concert - Mezzo-soprano

Orquesta Sinfónica y Coro RTVE | Madrid, Teatro Monumental

Miguel Ángel Gómez Martínez, Conductor


Puccini - Edgar, in concert - Mezzo-soprano

Orquesta Sinfónica y Coro RTVE | Madrid, Teatro Monumental

Miguel Ángel Gómez Martínez, Conductor

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Federica, Luisa Miller, Teatro Real 2016


María José Montiel portrayed her role with compact density, showing the breadth of scope of her voice, which is currently in magnificent form.


- Paloma Sanz, Brío Clásica

The mezzo María José Montiel was a real treat for the thankless role of Federica. The singer showed off her outstanding dense and full projection.  She also made an impact with her sound and intention with the phrase “Io non cangiai” which precedes the duet “Dall’aule raggianti” in which she practically overshadowed Costanzo to the point of almost making him disappear at the end of the scene.  She also used her voice and phrasing expertly in her scene in the second act which ends with the unusual a cappella quartet “Come celar le smanie”.


- Rubén Martínez, Codalario

Federica is an ideal role for María José Montiel who sang very well, especially in the constancy of the quality of her low register. 


- Luis Gago, El País

María José Montiel is a real treat as Federica.


- Gonzalo Alonso, La Razón

The mezzo-soprano from Madrid María José Montiel, who has just triumphed as María Moliner, really got the best out of Federica, a small role but really outstanding because of the singer


- Álvaro Del Amo, El Mundo

María José Montiel portrayed Federica with genuine temperament as well as flawless vocal ease. 


- Alejandro Martínez, Platea Magazine

María Moliner (A. Parera), Teatro Zarzuela 2016


María Moliner rests and lives in María José Montiel.  The whole opera, music and text rests on her shoulders.  She does it in such a way that it is difficult to imagine it sung by another voice.  Parera Fons seems to intuit this from the beginning and grants her, as well as an almost continuous presence on stage (she only goes off on a couple of occasions), two great solo moments which coincide with the beginning and the end of the music and which summarise the entire personal evolution of the lexicographer.  The way her singing unfolds, energetically, full of the initial excitement, reflecting a very particular mentality, tenacious and perservering, until the decline, choking with emotion, syllabic, and the effort to remember every word, suffering from Alzheimer´s, this is a Montiel who lives and breathes Moliner.  She does.  We do.  It is lucky that there was such a committed artist taking the lead role in this premiere.  In her last moments and with her final look at the audience, recalling her mother, her dictionary, and she herself, the mezzo once again sent shivers down our spine.


- Gonzalo Lahoz, Platea Magazine

Evidently, the musical centre is the impressive performance of mezzo-soprano María José Montiel.  She is on stage at all times, she sings with enormous perfection and commitment, and she glories in the role which, although it has been written especially for her, is tremendously demanding.  However, she pulls it off like the great diva that she is.


- Tómas Marco, Diario El Mundo

It is the priceless María José Montiel who is responsible, in great measure, for the opera´s success.  Her voice was excellent, as usual, with great intensity in the first scene, which she knows how to maintain at all times.  But she also shines as an actress: her María Moliner captivates, with her dignity, dedication and sad end, and with the mezzo-soprano´s moving performance, which, ironically, it is difficult to describe with words. 


- Jesús Blanco López, Libertad Digital

A top-notch cast, in which the great mezzo María José Montiel filled herself with that heroism which is so feminine: great generosity despite her ostracism.  Montiel has a velvety voice and lots of personality.  If anyone can claim to be a success, it is her...


- Jorge Fernández Guerra, El País

María José Montiel is the consummate leading lady, she is fully engaged both vocally and dramatically and has a truly beautiful, full voice, flawless in all registers...


- Gonzalo Alonso, Beckmesser

Carmen, Teatro San Carlo di Napoli 2015


Montiel´s Carmen is freedom made into opera... she unfurled a palette of colours which allowed her to delineante a sensual Carmen, full of detail, of pure, melodious filigree, with unforgettable moments such as the return to 'amour est enfant de Bohéme' after the Seguidilla, with a last 'prends garde à toi' which has remained in the aural memory of Naples


- Gonzalo Lahoz, Platea Magazine

At the San Carlo, María José is Carmen!  Forget Milan, forget La Scala, this year opera can be found in Naples at the Teatro San Carlo.  Get this name well into your heads: María José Montiel.  She is Carmen, she is Parthenope.  You are in Naples, but in reality you have been transported to Seville.  Now imagine her coming out, in her heels, crushing the grains of sand at the gate of the bull pen leading to the square.  It is there, and from that exact place where the acoustics are perfect, where she brings the most beautiful and seductive Habanera that you have ever heard to life.  Close your eyes.  Let her voice get under your skin.  Try, if you can, to make contact with Carmen´s soul.  Now full of sunshine, now dark.  Sombre too.  Try, if you can, to be men.  In front of you is a woman.  The woman.  Ready for anything.  Free and authentic.  Dare, if you can, to challenge her.  Offer up your chest to her wildness and temperament.


- Michele Fronterrè, Formiche

The conductor accompanied the soloists with a firm hand, achieving great complicity with the orchestra and the leading lady: María José Montiel, who gave it her all on stage, with unique and minutely shaded phrasing dedicated to a role which she knows through and through and which she knows how to respect and when to unfold


- Pablo Meléndez-Haddad, ABC

Florida Grand Opera - Carmen - Carmen, 2016

First and foremost, of course, Carmen needs a formidable singer in the title role, and FGO has one in María José Montiel. The Spanish mezzo-soprano effortlessly produced rich, sensual tones in the famous Habanera and Seguidilla, lowering her voice in the final renditions of the Habanera melody, in a manner that made the aria less showy and more insinuatingly intimate. In her stage manner, she communicated Carmen’s sexual mastery subtly, in the easy confidence of her walk and gestures, without the over-the-top posing and exaggeration often portrayed.

- South Florida Classical ReviewRead the article

Spanish mezzo Montiel in her FGO debut, appearing with a fall of untamed hair and a defiant décolletage, credibly portrays a woman who would choose death over the loss of independence. The audience members are goners the moment that saucy voice launches into the iconic melody of "Habanera" as if she were pouring some rich thick liquid from a silver chalice. Exuding a joie de vivre, Montiel's Carmen impudently rolls consonants as if her tongue were savoring a gourmet dish. Even if someone turned off the spotlight, she would glow.

- Bill Hirschman, South FloridaRead the article

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