Press

 

ROSSINI Il Viaggio a Reims, Gran Teatre del Liceu

'Maite Beaumont sings Melibea with silk timbre and beautiful phrasing and characterizes the Marquesa as a lovely and complex character.'

www.forumopera.com, Yannick Boussaert, 17 September 2017


'Maite Beaumont sings the role of Melibea with such dedication, marvellous timbre and aplomb in the coloratura arias that one wishes to hear her in many other leading roles of Rossini’s operas'

www.olyrix.com, Emmanuel Andrieu, 16 September 2017


'The enchanting Corinna sung by Irinia Lungu, the powerful coloratura arias sung by Maite Beaumont (Marquesa Melibea) and the sparkling high notes from Sabina Puértolas (Countess of Follerville) as well as Ruth Iniesta (Madame Cortese) testify the enormous aplomb of the women’s voices in this opera.“

El País. Javier Pérez Senz, 14 September 2017


'Fortunately, the demanding singing Rossini composed for coloratura voices meets an appropriate interpretation in this production (...). Sabina Puértolas (Countess of Follerville) gave proof of her comical talent and stood out with ‚Partir, o ciel’, the same must be said of Maite Beaumont as flirtatious Marquesa Malibea.'

El periódico de Catalunya, César López Rosell, 15 September 2017'


'An attractive and ample mosaic of voices in which the elegant Corinna sung by the Moldavian soprano Irinia Lungu stood out as well as the debut of the Spanish Singer Ruth Iniestra as Madame Cortese. The same charisma and quality of singing had both Sabina Puértolas as Follerville and Maite Beaumont as Melibea.'

La Vanguardia, Jordi Maddaleno, 15 september 2017


'Maite Beaumont interpreted the role of Marquesa Melibea with aplomb and great phrasing up to perfection in her duet with Count Libeskof, sung by Lawrence Brownlee.'

www.llegirencasdincendi.cat, Antoni Garcés, 14 September 2017


 

MOZART La Nozze di Figaro, Municipal de Santiago (Chile)

'Maite Beaumont’s Cherubino was one of the highlights of the production. The young man burning with passion has found a wonderful interpreter in the mezzo-soprano. Maite Beaumont sang the youthful role with flexibility in her voice and gamine attitude'.

tuiteroscultura.com, 15 June  2017


'Maite Beaumont drew much attention as young and passionate Cherubino. This trouser role is very sophisticated and demands of the mezzo-soprano not only to act as a young man but in the course of the story, to play a man disguised as a woman. Maite Beaumont mastered her part with great success. She mesmerised the audience not only with her convincing acting but also with her pristine singing'.

desdelabutaca.cl, 19 June 2017


'Maite Beaumont is a magnificent, energetic Cherubino...'.

El Mercurio – Santiago de Chile, 16 June 2017.


'The cast ranges from very good to outstanding like Nadine Koutchner (Countess) and Maite Beaumont (Cherubino), both got the most approval at the final applause'.

Las Últimas Noticias, 16 June 2017.

 

BELLINI I Capuleti e I Montecchi, Baluarte

'Maite Beaumont ist the winner oft he evening: stylistically perfect, with an even register, her deep notes coloured and lustrous and with elegant phrasing. She was a most convincing Romeo.'

Plateamagazine.com, 16 January 2017


'Maite Beaumont’s interpretation of Romeo was outstanding. Her vocal skills in the Belcanto repertoire are beyond doubt, the beauty of her voice has an enormous expressive power, which is giving sense to every musical figure. We are here listening to a great artist.'

Beckmesser.com, 15 January 2017


'Maite Beaumont was performing on the same high level. In her case, the merit is even higher, because the role of Romeo demands all notes of the tessitura up to the extreme. Maite Beaumont enchanted the audience with her absolute stylisitc command and the dauntlessness of her interpretation.'

Diario de Navarra, 16 January 2017


'Maite Beaumont presented a perfect Romeo. She is a mezzo-soprano with an extraordinary timbre and sings all high and low notes with enviable homogeneity and intensity. Her portayal of Romeo moved the audience deeply.'

Diario de Noticias, 16 January 2017


 

MOZART La Clemenza di Tito, Teatro Real

Spanish mezzo-soprano Maite Beaumont was a subtle and outstanding interpreter of Sesto. Her vocal qualities were ever-present, in the delicate moments as well as in the very expressive musical parts. Her interpretation of the aria 'Parto, parto' was a model of good taste and emotion.

www.beckmesser.com, November 2016


Mezzo-soprano Maite Beaumont excelled especially in her aria 'Parto, parto', with expressive force she portrayed the inner turmoil of Sesto.

www.afficha.info, November 2016


Maite Beaumont sings the role of the inwardly torn Sesto (...) with much musical wisdom and elegance.

www.elperiodico.com, November 2016

 

HANDEL Tamerlano, Les Talens Lyriques

In the splendid aria 'Per che mi nasce in seno uns raggio di speranza' from the second act mezzo-soprano Maite Beaumont as princess Irène unfolded all the magnificence oft her voice and her charisma.

 Anaclase, 17 September 2016


Spanish mezzo-soprano Maite Beaumont (Irène) enchanted the audience with her voice and temperament.

Leprogres.fr, 18 September 2016

Not to forget the passionate and sensitive Bajazet sung by the Italian tenor Carlo Allemano, the moving Asteria sung by the French soprano Eugénie Warnier, the gallant Leone sung by the German bass-barytone Thomas Bauer and the valiant Irène sung by the Spanish mezzo-soprano Maite Beaumont.

Lecourrier.ch, 22 September 2016.


maite beaumont FAUST

GOUNOD Faust, Théâtre du Capitole de Toulouse

'Maite Beaumont is a charming and very moving Siébel. She have mastery of an excellent vocal technique, commands a precise phrasing and has a charismatic stage presence'.

Le Commcercial, 20 July 2016


'Maite Beaumont as Siébel is a luxury cast. Her auburn timbre and her perfect phrasing suggest experience with far more important roles'.

Classique Touose, 25 June 2016


'Beautiful Siébel by Maite Beaumont who rended visible the sensibility of the young crippeld boy'.

forumopera.com, 30 June 2016


'.. very touching also the interpretation of Siébel by mezzo-soprano Maite Beaumont...'.

La Dépêche du Midi, 29 June 2016


'Maite Beaumont, Constance Heller und Rafal Pawnuk deserved a chorus of praise'.

Opéra Magazine, 1 September 2016


HANDEL Alcina, De Nationale Opera, Amsterdam

'As Ruggiero, Maite Beamont argues convincingly, with her intimate and warm chest voice, that women may lay legitimate claim to Handel’s castrato role'. Frankfurter Allgemeine Zeitung, February 2015


'There is (...) a brighter light: Maite Beaumont’s Ruggiero. (...) Beaumont can be relied upon when it comes to trouser roles, both vocally and dramatically. Sta nell’ircana is satisfyingly heroic and solidly sung. (...) Her Ruggiero is very much an Octavian: young and confused but also gutsy when his patience has run out. She’s in excellent voice, which is a treat, as her voice fits Ruggiero'.

dehggial.wordpress.com, July 2015

Captura de pantalla 2015-07-02 a la(s) 00.38.54 

HANDEL Giulio Cesare, Teatro Regio di Torino

Eccellente Sara Mingardo,...L 'altretanto brava Maite Beaumont nei panni di un Sesto morbido e delicato. Il loro duetto a conclusione di primo atto è decisamente la pagina migliore della rappresentazione.

'Excellent Sara Mingardo… and the equally good Maite Beaumont, soft and sweet, in the role Sesto. Their duet at the end of the first act was the highlight of the performance'. Liricamente.it, 29 November 2014


Maite Beaumont, raffinata nell far vivere gli umori impulsivi ed adolescenziali del personaggio di Sesto con una carezzevole voce di mezzosoprano. 

'Maite Beaumont, refined in giving life to the implusive and adolescent moods of the personality of Sesto, sang with a soothing mezzo voice'. L' Opera, January 2015.


Sesto Pompeo, splendidamente disimpegnato dal mezzosoprano Maite Beaumont, cui il pubblico ha indirizzato un profluvio di Applausi a fine serata, del tutto meritati. 

'At the end of the evening, having performed splendidly the role of Sesto Pompeo, Maite Beaumont received a flood of well-earned applause from the audience'. Il Corriere Musicale, 22 November 2014

'Maite Beaumont’s Sesto was excellent and full of allusions to Wernicke’s famous staging'.

Classic Voice, December 2014

MOZART Don Giovanni, Theater an der Wien

Maite Beaumont ist eine temperamentvolle Elvira.

'Maite Beaumont is a spirited Elvira'. Kronen Zeitung 19 March 2014


Deutlich souveräner agierte Maite Beaumont als dunkler getönte Donna Elvira mit dem Aplomb einer veritablen Barock-Heroine."

'Maite Beaumont is a dark-tinted Donna Elvira with the aplomb of a true Baroque heroine'. Die Presse, 19 March 2014


Zu entdecken ist Maite Beaumont als sichere Donna Elvira. 

'Maite Beaumount, as a solid Donna Elvira, is a discovery'. Salzburger Nachrichten, 19 March 2014