Afternoon of Operetta (Choral Artists of Sarasota) “Soprano Martin wowed us with her note-perfect portrayal of Olympia, the mechanical doll in “Les Oiseax dans la charmille” from “The Tales of Hoffmann.” Called “the most insane aria for soprano,” it is arguably among the most difficult with its coloratura demands and tight staccato pops. Martin played it to the hilt..”

“meeting the lovely Mabel, sung by Martin who sparkles in anything she sings.”
-Gayle Williams, Sarasota Herald Tribune (5/2019)

Fiordiligi in Cosi Fan Tutte (Chautauqua Opera):
Ms. Martin was Fiordiligi, the soprano of the pair. Her voice was light and very clear, and it wound itself fetchingly around all the composer's intricate twists and bends.”
-Robert W. Plyler, The Post Journal

Susanna in Le Nozze di Figaro (Chattanooga Symphony and Opera)
CSO PRESENTS EXQUISITE FIGARO [Headline] "Burns and lyric soprano Emily Martin as Susanna make a feisty central couple, their voices strong and persuasive."
-Nikki C. Hasden, Chattanooga Times Free Press

Niece 2 in Peter Grimes (Santa Fe Opera)
“Emily Martin and Bronwen Forbay made an alluring pair of “nieces” for Auntie."
-Craig Smith, The Santa Fe New Mexican

Curley’s Wife in Of Mice and Men (Opera Grand Rapids)
"Lyall outdid himself with the casting of versatile actors and gutsy singers. Martin captivated the audience with the much meatier part as a woman hungry for attention. While singing some gol’ darn difficult music with a gossamer voice, Martin shrewdly played a complex, calculating woman who’s flirtatious, manipulative, sweet and self-absorbed all at once.”
-Jeffrey Kaczmarczyk, The Grand Rapids Press

Afternoon of Operetta (Choral Artists of Sarasota) “Martin then sang an excellent “The Doll Song” from Offenbach’s “Tales of Hoffmann,” showing off her clear and vibrant soprano voice at its best, which was followed by the lovely “Barcarolle,” with Martin and Rishoi creating a lovely mood.”
-Edward Alley, Sarasota Observer (5/2019)

Musetta in La Boheme (Opera Birmingham)
Soprano Emily Martin played Musetta with appropriate flightiness. Martin adapted nicely from sassiness to bright radiance.”
-Michael Huebner, The Birmingham News

La Charmeuse in Thäis (Palm Beach Opera)
Lyric soprano, Emily Martin as Charmeuse added coloratura sparkle and dazzling visual interest as the scarlet-garbed entertainer with her four accompanying graceful dancers.”
-R. Spencer Butler, Palm Beach Daily News

Liu in Turandot (Nevada Opera)
"Emily Martin…gives outstanding performances [HEADLINE] The two outstanding members of the cast are Martin, as Liu, whose strong, emotional voice brings oomph to her big third-act scene …"
-Richard LaComte, Reno Gazette-Journal

Donna Anna in Don Giovanni (Skylight Opera Theatre)
“It opens with Martin in a sexual romp with Don Giovanni. Not too many lyric sopranos would look so fetching as Martin does in heels, stockings, garter belt and bustier; fewer still would dive out of a window with such agility when the Commendatore barges in. That’s a brilliant shift from the usual portrayal of Anna as innocent victim. It raises the possibility of a much more conflicted character, and Martin makes the most of her. Here, in a courageous performance, she’s a spoiled, promiscuous, coke-sniffing bottle-blond, still sexy but hard and old before her time. She put an edge on her voice, too, and made Anna a chilling, compelling mess.”
-Tom Strini, Milwaukee Journal Sentinel