Concert at Schwetzinger. May 2019
"José de Torres has truly earned such a reputation with his music, especially when, in addition to the ensemble (two violins, cello, double bass, lute, oboe, harpsichord) playing so catchily, such an expressive mezzo-soprano as Maite Beaumont makes her mark on the arias and recitatives of the cantadas. The voice is excellent, the modulatory means impress and the content and narrative element is vividly emphasized. An unusual voice, always clear and intense, elegant and without artificial embellishments even in the (...) coloraturas. Full of variety of expression. (...) For the listener, the variety of expressions and the compositions of the vocal phrases are more important. Accompanied by El Ayre Español, Maite Beaumont emphasizes these vocal phrases in her interpretation .“
Mannheimer Morgen, 16 May 2019
"The spirited performance by the singer and the instrumental turned the concert into a thrilling evening. (...) The Spanish mezzo-soprano transformed the small‚Cantadas al Santisimo‘ and the ‚Cantada al Nacimiento‘ into great opera together with the dedicated playing ensemble. With their sparkling performance, they transformed the cantata for Jesus' birth, a pastoral idyll with other baroque composers, into a musical work full of drama. (...) Embedded in the sound of the lyrically played oboe and the expressive performance of the two violins, supported by the springy rhythm of the continuo group led by Eduardo Lopez Banzo on harpsichord, the enormous versatility of Maite Beaumont's voice came to the fore.“
Rhein-Neckar-Zeitung, Nike Luber, 16 May 2019
Giovanni Batistta Pergolesi's Stabat Mater. Baluarte
"Two extraordinary voices could be heard, which fit very well to the moving work of Pergolesi: Sabina Puértolas, with a colorful and for the listener pleasantly round voice. And Maite Beaumont, with her very special timbre - a real mezzo-soprano - and with a vocal warmth that few singers have. Both are at the height of their careers.“
Diario de Noticias. Teobaldos, 30 March 2019
Rossini's L'italiana in Algeri. Gran Teatre del Liceu
'Maite Beaumont is highly appreciated it in this opera house for her roles in operas by Händel and Mozart. With her interpretation of Marques Melibea in the last season, she recommended herself for Rossini. Her role debut as Isabella in the Teatro del Liceu confirmed this feeling: she delivered her three areas with a mellifluous and musical voice giving the impression of an artist who knows what she is doing and without forcing her voice one single time.'
Opera Word. Robert Benito, 26 December 2018
Mozart's Le Nozze di Figaro. Staatsoper Hamburg
'I like most the voice of Maite Beaumont (Mezzo-Soprano)' who sung Cherubino. With her stage presence (...) she conquered all the hearts immediately. (...) And I wasn't alone in my opinion: the audience rewards the fabulous performance of the Spanish singer with the longest final applause".
klassik-begeistert.de/. Teresa Grodzinska, 21 June 2018
Händel's Rinaldo. Teatro de la Maestranza
'The cast was exceptional starting with Maite Beaumont who used her soft, caressing and warm voice for delicate phrasing. She meticolously took care of the most tender musical affects as well as of the eruptions of fury of her character mastering the coloratures with bravura.'
Andrés Moreno Mengíbar, Diario de Sevilla. 11 March 2018
'Maite Beaumont is a mezzo-soprano from Navarra with a sonorous voice like velvet, vigorous also in the lower registers and more lyric than dramatic (...). '
Carlos Tarín, ABC. 11 March 2018
'Outstanding in her interpretation was Maite Beaumont (Rinaldo), her singing was exceptional in her aria ‚Cara sposa’ in the first act.'
José Antonio Cantón, El Mundo. 12 March 2018
Luciano Berio's Folk Songs. Tchaikovsky Concert Hall (Moscow)
'The Spanish Mezzosoprano has a beautiful and pleasant timbre, her vocal technique is flawless'
Musical Life (Russia). Sergej Bulanov, January 2018
MONTEVERDI L'incoronazione di Poppea (Concert form). Gran Teatre del Liceu
'When I had to choose one singer over the others without doubt it would be Maite Beaumont in the role of Ottavia, the outcasted wife of Nerone. All evening her singing was brillant and expressive and she topped her performance with a fantastic interpretation of Addio Roma'.
beckmesser.com, José M. Irurzun, 4 December 2017
'With her flawless and warm timbre, Maite Beaumont triumphed in the role of Ottavia. The voice of the mezzo-soprano from Pamplona actually is in an enchanting phase of maturity which she already proved in Rossini’s „Il Viaggio a Reims“ at the opening of the season of the Liceu last October'.
La Vanguardia, Jordi Maddaleno, 5 December 2017
Maite Beaumont repeated her sensational Ottavia from eight years before. The mezzo-soprano portrayed her character with so much majesty and moving tragedy expressing everything with vocal and dramatic naturalness. An unmatched Ottavia!“
nuvol.com, Antoni Colomer, 3 December 2017
'Maite Beaumont as Ottavia showed assurance and expressive power in her interpretation'.
El Periódico de Catalunya, César López Rosell, 2 December 2017
'Very different was the Ottavia of Maite Beaumont (...) her farewell to Rome was the emotional highlight of the performance.'
www.ara.cat, Xavier Cester, 3 December 2017
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
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.
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
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