Recent press reviews of performances by American mezzo Ann McMahon Quintero

storge in Jephtha

Boston Baroque

“Mezzo-soprano Ann McMahon Quintero needed no onstage warmup to inhabit Jephtha’s wife, Storge, imparting luminous significance to individual words through subtle vocal swells. The rage air she flung at Jephtha was also a sight and sound to behold, her chest voice ripping through the orchestra.”
Zoë Madonna, Boston Globe

“As Storge, Ann McMahon Quintero’s loamy mezzo-soprano embraced mourning like a down duvet in her first aria sending Jephtha off to war… Her rage and haunted incomprehension of injustice charged through with Azucena amplitude in her third.”
CJ Ru, Boston Musical Intelligencer


The Old Lady in Candide

Arizona Opera

“Quintero was terrific. She was funny and sassy, and her voice was equal parts opera diva and blues singer.”

Cathalena E. Burch, Arizona Daily Star

“Ann McMahon Quintero delivered the goods and was terrific as Cunegonde's companion with a trail of woes of her own.”
Herbert Paine, Broadway World Opera

“Ann McMahon Quintero sang her Klezmer-infused tango with smoky tones and garnered quite a few laughs with her antics. Her dance to Amy Beth Frankel’s capable choreography was most amusing.”
Maria Nockin, Opera Today


Mistress Quickly in Falstaff

Virginia Opera

"Alice Ford and ... Meg Page tended to be seen sitting in a row sipping tea with Ann McMahon Quintero's Mistress Quickly (who traveled through the show trundling her ubiquitous tea caddy). Their timing was splendid and their conniving delicious."
Joan Reinthaler, Washington Post

"Though these three roles are not huge, they're nicely realized by three female vocalists who also possess an excellent sense of comic timing."
Terry Ponick, Washington Times


Suor Pazienza in Mese Mariano

Spoleto Festival USA

"As the nun (and Carmela's cherished childhood friend) Suor Pazienza, Ann McMahon Quintero's rich and dusky mezzo was especially pleasing; so was her compassionate acting."
Lindsay Koob, Charleston City Paper

"Sister Pazienza [is] Ann McMahon Quintero in handsome voice."
George Loomis, Musical America

"...Rowley wasn't the only one who could sing and act well. The entire cast of “Mese Mariano,” from the nuns — especially Mother Superior (Linda Roark-Strummer) and Suor Pazienza (Ann McMahon Quintero) ... did their jobs impeccably."
Adam Parker, The Post and Courier


Amneris in Aida

Annapolis Opera

"Mezzo-soprano Ann McMahon Quintero, as Amneris, delivered a fully nuanced portrayal, alternately sensuously cooing in warm, honeyed tones and soaring regally in her outrage at Radames' attraction to Aida. In her Act III duet with Radames, Quintero was spellbinding and dramatically compelling as she pleaded with and berated him in her futile attempts to persuade him to love her and live."
Mary Johnson, Baltimore Sun


Mezzo Soloist in Stravinsky Outside Russia

The American Symphony Orchestra at Carnegie Hall

"The spare, terse structure of the Requiem Canticles builds around fragments of the traditional Requiem text, viewed like shards from antiquity in a coolly focused modern light. In the solo bits, bass-baritone Miller came into his own, he and mezzo Ann McMahon Quintero making their points with somber intensity...To illustrate the variety of what Stravinsky wrote between Zvezdoliki and the Canticles, Botstein next chose Mavra (1922), a brief adventure into comic opera ... Mezzos Quintero and Heather Johnson registered gossipy cameos as the girl's Mother and a Neighbor."
John W. Freeman, Opera News


Mistress Quickly in Falstaff

Opéra Lausanne

"Regarding the quartet of gossip, we will remember first the Mistress Quickly of Ann McMahon Quintero, with a beautiful color performed with full ease."
Emmanuel Andrieu, ConcertoNet


Azucena in Il Trovatore

Opéra Royal de Wallonie

"And what to say about the Azucena of the American mezzo, Ann McMahon Quintero? In turn loving and sensitive, fierce and provocative, raw but generous, served by a haunting timbre throughout the tessiture, she will remain the true revelation of a show noted for its effectiveness."
Serge Martin, Le Soir (Belgium)

"What a beautiful discovery is the American mezzo Ann McMahon Quintero! She rose to the challenge of this role, and God knows Azucena is a moment that matters in a young career. McMahon is a product of the formidable American school. Physically opulent and radiant, with a superbly expressive face, the voice is made of fine material, and carries well..."
Philippe Ponthir, ForumOpera

"Also excellent was mezzo-soprano Ann McMahon Quintero, whose Azucena has the right amount of darkness and never becomes a caricature."
Nicolas Blanmont, La Libre

"Ann McMahon Quintero gave Azucena vocal and dramatic power."
Erna Metdepenninghen, Opera Magazine