Tosca - Vienna State Opera, December 2015

 

“The French-trained, Uruguayan soprano Maria José Siri [substituted the injured Serafin], distinguishing herself in an expert performance both vocally and dramatically, qualitatively of high level and culminating in a ‘Vissi d’arte’ of noteworthy sonic and expressive substance.  Hers is a beautiful, warm voice of very dark colour and ductile, well-projected high notes, and Siri’s “velvety” Tosca created a truly laudable mix with the clarity of Alagna’s Cavaradossi.  The gleaming and fine-hewn splendor of the tenor’s voice combined with the soft mellowness of this soprano, who was absolutely up to the situation.  Especially pleasing to the audience, thus, were the duets, with their interesting sonic quality, as the opposing vocalities of the two singers blended in chiaroscuro effects that truly merited the applause, despite the little time that they had to rehearse (barely two days).  Professionalism of the highest level.”
Natalia Di Bartolo, OperaeOpera

“But look: Dominique Meyer’s casting department found a worthy replacement.  The Uruguayan soprano Maria José Siri, who debuted at the Staatsoper as Tosca almost two years ago (and since then has also appeared at the house as Maddalena in Andrea Chénier) stepped into the title role and enthused us with a grandiose performance, both the dramatic and the lyrical aspects of which were fully convincing.  A proud, attractive woman, who improved from one act to the next.  Noteworthy were the “psychological hell” of the second act torture scene, her prayer, and above all the belcanto finale.  There was exceptional applause for the Latin American primadonna from Montevideo, who inspired newly baptized ‘Kammersänger’ Roberto Alagna to top form.”
Peter Dusek, Der Neue Merker

“Maria José Siri, who jumped into the title role on short notice was luckier and survived the character’s suicidal leap at the end of the opera, but it was not for that reason that she was cheered.  For this soprano, who already has sung the role several times at the Wiener Staatsoper, was convincing with powerful emotional expression and richness of nuance….  Her more intimate tones were likewise alluring, while her ‘Vissi d’arte’ was excellent.  Her acting above all in the second act up to the murder scene  was stirring.”
Helmut Christian Mayer, Der Neue Merker

“In both performances Maria José Siri was the replacement for the injured singer.  And let’s say this right away: she was a good replacement.  In the first act she depicted a capricious, jealous diva; in the second act her desperation over her lover’s fate came out in a beautifully sung ‘Vissi d’arte.’”
Wolfgang Habermann, Der Neue Merker