The vain femininity together with the deep passion that characterize the role of Manon, finds in Ainhoa Arteta’s exquisite performance an absolutely fascinating vehicle of expression. The beauty of her voice, the polished phrasing and the delicate and intelligent way of approaching the challenge of this demanding role managed to conquer unreservedly an audience who cheered her fairly. "

Ainhoa Arteta's debut in the main role was the principal incentive of this Manon Lescaut with which the Festival was closed. The Basque soprano did not disappoint in her performance, always devoted herself in all the records, and there is no doubt that in a little time this one will be another role of her heroines' list "

"The Basque soprano Ainhoa Arteta is at one of the sweetest moments of her artistic career, not only in the theatre but in the world of the disc. The stamp DECCA has edited in DVD an unpublished production of The Rondine with staging of Marta Domingo proceeding from the National Washington Opera, under Emmanuel Villaume's baton. The role of Magda de Civry fits like a glove to Arteta's voice. She does not leave no loose ends in a performance that conjugates captivation, emotion and refinement."

They are going to be 22 years, from that August in 1987, in which the soprano Ainhoa Arteta - also 22 years old – made her artistic debut at the Quincena Musical. Since then it was always in her mind to undertake the role of Manon Lescaut, the main character of Puccini’s opera, waiting in a patient way for the ideal moment in which her voice and her technique could deal with the demanding role.

Such happiness has arrived to Perez Galdós Theatre of Las Palmas de Gran Canaria whose expert audience has been the lucky to enjoy the event. The final ovation received by the tolosara, altogether with the fervently expressions and the emphatic and loud applauses, were proof of her great success.

The Arteta could, for all the sides, with this complex role, not only in style but also in the situations that recreates the permanent musical tension written by Puccini. Her voice sounded clean and sure, singing sul fiato, with legato, without pressing which allowed her to arrive to the intensive end full of energy. Her indisputable dramatic flair shows her as a Manon Lescaut of reference.

The Arteta’s Manon is a Manon with character, as she expresses it in a very suitable way through a voice which fits perfectly with the role. Saying that she triumphed is not enough: She devoted herself to the role as Carl Tanner did. Both took the risk of losing their voices on their way, and that, when there are three performances left, is very praiseworthly and proves their professionalism.

Ainhoa Arteta does not disappoint with her first incursion in a lírico-spinto role. On the contrary, without losing a point of the central color, her voice is pure silk and charm, she multiplies the charisma of her voice and of her physical presence with tragic conditions of first order. The scanty homogeneity of Manon Lescaut's score, which goes from the most lyric and mundane to the most melodramatic thing, is an enjoyment for the one that listens and torment for the singer. As a queen, Arteta imposes her authority in both ways, between the delicate singing of “In quelle trini morbide”, wonderfully connected in filados, and the agonizing strength of “Sola, perduta, abbandonata”.
The voice has grown and presents a powerful and stamped body up to the high notes, while her interpretive instinct makes herself throw into the totality of her part with superb squillo. This soprano has much to say in the whole Puccini of great intensity, and we hope that she will make her debuts of the roles that still wait for her here. Her outstanding performance shows again her first class.

The soprano Ainhoa Arteta has signed her future engagements with Arena de Verona for 2007 season and with La Scala of Milán and Metropolitan for 2008.

"Ainhoa Arteta fascinated the audience with a secure performance, precise diction and great expressivity. The first aria was perfect as well as the weighty recitatives."

- After “the Callas” and “The Caballé” Will there be no more divas?
-Nooo. We have Ainhoa Arteta, she is one of the great dames of the ópera, whom I personally admire, because of her voice, her technique, her way of being and because I think she is the soprano of Spain in these moments; at least she is everywhere I go all over the world and in Spain as well.
- Is it easier to triumph out of Spain?
I do not know. I started out of my country and when I came back I was already well known. This has happened to Ainhoa, she has been famous in other places. In America, for example, she is a queen.

" Ainhoa Arteta lives her Mimí with great grip expressivity, the control of the character benefits her beautiful singing"

"«Dulcinea» Arteta sang on monday night to a Don Quijote “in love” in a rich cantata of the composer Lorenzo Palomo, wich impregnate with the color and the dry wind of La Mancha the Konzerthaus of Berlin. The first world performance , with the Staatsoper Orchestra was acclaim with applauses .
?«Dulcinea. Cantata-fantasía de un caballero enamorado», conducted by Mr. Gómez Martínez, brought to Berlín a beautiful piece of La Mancha, shaken by the wind and the dreaming story, reality and impetuous passion fourth centuries old, just as Palomo has made in music in a modern way and was offered by a charming Ainhoa Arteta , achieved more than five minutes of standing ovation

"It was a “Faust” where the main role was Margherite. Ainhoa Arteta has won the valencian audience affection who clapped with warmth her performance. The vasc soprano has obtained with Gounod several of her best successs, Margarita and Juliette are two of her main roles. There is no doubt the singer has appearance escenic and charisma (...)"

"...the complete perfomance of Ainhoa Arteta. She was the one who achieved to create an oasis, with her devotion and good art of singing.
The basque soprano sang with a fresh and powerful voice, and she coulored it from the bright ness required in the first two acts, to the sensuality needed in the passional l and captivating scene of Saint Sulpice. "

The discover of this edition is a world famous soprano who makes her debut in our city. Ainhoa Arteta is a real deluxe Musetta and also an excellent example of the pretty aliance between the real vocal skill maestría vocal, that conquers in every aspect, and the overly dramatic fastination , intrinsinc, fresh and original.

“Arteta reappeared in style after a period out of the stage, in which she almost quit. The rest and a new coach have done her well. In fact, it was the best performance of her that I ever saw. I am glad to be able to talked positively about her performance, since most of my remarks in the past were too hard. She sang with confidence and in tune,with perfect trills and an appropriate combination of the sweetness of her part and the dramatism of the duet with Zurga. Her success was just great.”

“Ainhoa Arteta sang a great Leila, she was inmense in the duets, and the development of her role was devoted and subtle, with a luminous singing and a vigorous performance.”

“Soprano Arteta and tenor Bros were the basis of the opera. Ainhoa Arteta played a very theatrical Leila, with scenic naturalness as usually. She showed a very powerful high register, a voice that has become more solid. In general, she sang taking care of the intensity, “smorzando” with good taste, delicate “pianos” and confident “filandos”.”

“Donna Elvira, the seduced-then-jilted lover, was sung by the remarkable Basque soprano Ainhoa Arteta with just the edge of vulnerability, pathos and wistfulness in her voice. A tragic figure, she could also prompt the audience to spontaneous roaring laughter.”

“ Ainhoa Arteta was the heroine in “Les Mamelles de Tiresias” and made an inspiring performance, enhanced by a very clear and homogeneous voice and an excellent diction.”

“Singing with lyrical elegance and lovely vocal colorings, Ms. Arteta was an uncommonly dignified and vulnerable Violetta. The sound system of the portable Carlos Moseley Music Pavilion loved Ms. Arteta's pianissimo high notes, which carried beautifully in the fresh night air.”

“However, the soprano again stole the show. The Basque soprano Ainhoa Arteta is a stunningly beautiful woman, and that is certainly a major bonus in a role as Violetta. And her voice was just amazing as well. It was not particularly large, but very beautiful, and she reached the high notes with an ease that really astonished me. She was the Violetta of my dreams. Apart from her vocal and physical beauty, she just had a very theatrical presence (maybe in part because of her looks) and a great dramatic involvement. I would like to see her in many roles of the lyric repertoire!”