Adriana Lecouvreur, Las Palmas, March 2021


"Listening to the Uruguayan soprano spinto María José Siri in the leading role, one wouldn’t say that this is her debut in Las Palmas. I dare to describe her as a Wagnerian soprano because of the color, the power and the extension of the register, overwhelming in middle and at the top; but she is also a refined lyric soprano in the delicacy of the middle voice and the poetic filatos. Splendid voice and the right physique du rôle. She was applauded with tireless enthusiasm."
G. Garcia-Alcalde, La Provincia 

"The absolute winner in this production was María José Siri. The Uruguayan soprano made her local debut multiplying the value of this second ACO title of the season. Her Adriana was full of strength with an exceptional capacity in the most dramatic register without this influencing her to force in her prodigious top register. She assumes all her inflections as her own thanks to a flexible timbre and a convincing vocal adaptation to which she adds a sublime interpretive presence. The audience recognized granting her ovations, pulling off an encore of "Io son l’ umile ancella.“ 
Agustin Arocha, Opera Áctual 

"They [the singers] always made the best of the situation, especially María José Siri in the title role of Adriana. In fact, she was not only the star of the evening in her role as prima donna on stage, but also for the audience - with a sonorous, full and expressive soprano and the skillful gestures of the prima donna, until this finally gave way to equally convincing gestures approaching the death of the protagonist. The famous entrance aria "Ecco: respiro appena ..." was an absolute highlight with a final long-held note and impressive piani and high notes. The audience cheered with many Bravas."
Klaus Billand, Orpheus 

"And now it’s the protagonist’s turn. Maria José Siri, at her role debut, which she will reprise (hopefully in front of an audience) at the next Maggio Musicale Fiorentino. A most felicitous debut: it is well known that Siri is a singer gifted with a privileged timbre and technique, but it was a relative surprise how interpretatively imposing she was, considering these difficult times and the general circumstances a show is produced in this place). Adriana, just precisely for that mix of meta-theatre representing the Diva representing in turn herself, a bit like Tosca ma even more so, can came awfully close to pure kitsch, a Francesca Bertini-style acting, just as an example. None of this happened. “Men sincera è la stessa verità”, Siri proved superlative from her very entrance, encored after long and frenzied applause.: “Io son l’umile ancella”. It should be stresses that her part was happily performed with almost no cuts and was therefore appreciated in her little duet with Michonet “Ah se potessi anch’io”, as well as in the poignant duet with Maurizio “La dolcissima effige”; Then in Act II, once more with Maurizio “è dunque vero, il gran Maurizio voi” and the fight with Principessa Bouillon. After overcoming with total plausibility the “Fedra” scene, where she cleverly dosed singing and acting with a most effective dramatic vigor, the whole Act IV was simply perfect.The already mentioned “Poveri fiori” were followed by the truly touching and thrilling finale.In one word: Excellent, The Florentine appointment is not to be missed." 
Andrea Merli, I teatri dell’Est