This Hänsel und Gretel was enlivened by depictions of the title characters that exuded unaffected jocularity. Not the sort of chirping soubrette often heard in the rôle, Martinson Davis was a gratifyingly full-voiced Gretel who encountered no problems with the girl’s top notes and trills. Martinson Davis’s Gretel joyously greeted the morning after a harrowing night in the forest with a sensational top D. Many of the world’s opera companies regularly stage Hänsel und Gretel, but few of them offer their audiences Hänsels and Gretels as captivating as Greensboro’s.

            - Voix des Arts

Native North Dakotan soprano and highly respected local pedagogue, Joann Martinson, infused Act Two with a potent dose of gypsy grit...She sang dashingly in Act Three, not least in the card-reading Trio, in which [her] refrains of ‘Mêlons! Coupons! Rien, c’est cela! Trois cartes ici... Quatre là!’ first established the playful mood of the scene and later sought to reclaim it after Carmen’s fateful turn with the cards. Martinson’s radiant top B flats and Cs in ensembles were matched by Foley Davis’s excursions into her dark-chocolate low register. Martinson [is a] significant talent, and [her] performance significantly boosted the already-high benchmark of this Carmen.

            - Voix des Arts

Vocal agility on the stratospheric highs of the role of The Fairy Godmother was not the only skill of soprano Joann Martinson who ended her scene with Cendrillon in a cartwheel that landed her perfectly on the setee.  Her high-flying notes were precise and seamless.

            - Classical Voice of North Carolina

Soprano Joann Martinson combined vocal brilliance with considerable athleticism in the role of Fire.  A flawless cartwheel brought her aria to a spectacular end.

            - Classical Voice of North Carolina

Joann Martinson Davis, soprano

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