“Maria D’Amato’s lovely, straightforwardly affecting Desdemona announced a major Italianate talent on the scene; for this mid-size theatre, her shining, ‘juicy lyric’ soprano proved well-nigh perfect,” David Shengold, Opera

“Maria D’Amato is, however, an ideal Desdemona… D’Amato’s pure voice never feels forced, even in her cry for Emilia. Her ‘Willow Song’ and most honest and tender ‘Ave Maria’ are the highlights of the performance,” Jeff Haller,

“Desdemona seems to lie very well on Maria D’Amato’s voice, which floated beautifully above the fray, the innocent cause of so many tears in the drama. Her Act 4 “Willow Song” was a gem,” John Fleming, Tampa Bay Times

“Maria D’Amato is a stunning Desdemona. Her demeanor and voice radiate innocence and love but, beneath that purity and goodness, we see courage, strength and the kind of faith that’s steadfast even though she knows she’s about to die. Her Fourth Act “Salce” (“The Willow Song”) and “Ave Maria” were sung with the kind of control and radiance that Verdi must have heard as he wrote these exquisite pieces. And her two moments of pure fear for her future — when she cries out to her friend, Emilia, and just before Otello strangles her — were positively bone chilling,” June LeBell,

“As Desdemona, Maria D’Amato is outstanding, using her lovely voice to express both her love for Otello and her desperate confusion as she accepts her fate in a final scene of compelling lyric force, singing a song from her childhood and a beautiful prayer as she prepares for what she knows will be her ghastly end,” Richard Storm, Sarasota Herald-Tribune

“The rarely heard “Mass for Rossini” came next and was positively startling in its fascinating early workings of the later and much more famous “Requiem.” Maria D’Amato (whom we heard as Mimi earlier in the season) sublimely sang the soprano solos with an equally exalted chorus intoning the “Libera me” and “Dies Irae” with a drama rarely heard in concert,” June LeBell,

“Audience favorite Maria D’Amato played Mimi with a measured sweetness, refreshing in its maturity and moderation. Her lovely, unassuming manner and clean, precise vocal technique made her a wonderful fit for the role,” Abby Rosebrock, Opera News Online, January 2011 (Dicapo La Boheme)

“D’Amato was a show stealer as the fragile heroine; her Mimi was a sweet-voiced portrayal, with an easy understanding of its dramatics: Her first-act “Mi chiamano Mimi” (“They call me Mimi”) pulled the action off autopilot and set a new course for the rest of the opera.” Harriet Howard Heithaus, Naples Daily News, March 2011

“As Mimi, Maria D’Amato seemingly has no limits to both her rich soprano voice and to her innate musicianship,” Richard Storm, Sarasota Herald-Tribune, Feb. 2011

“Maria D’Amato (Mimi) was a gem, her singing and acting top notch.” Victor Wheeler,, October 2010

“Mimi, portrayed with warmth and understanding by Maria D’Amato, had a lovely mix of youthful yearning and mature resignation. Her voice is rich and dark, like the aroma of morning coffee, and her spinto soprano has a marvelous lower extension that manages to retain its gloss through the middle and lower passages of her voice.” June Le Bell, Longboat Observer, February 2011

“Highlights were Maria D’Amato as Mimi and Stephen Hartley as the painter Marcello. Both of these soloists possessed richly beautiful and resonant instruments that were able to soar over the orchestra, while giving us the vocal qualities that are expected in a first-class performance”, John Murelle, Cape Cod Times, November 2010

Sarasota Opera’s Die Zauberflöte: “Maria D’Amato’s warm-toned soprano made for an affecting Pamina.”

Sarasota Opera’s Die Zauberflöte: “Maria D’Amato was a superb Pamina, attractive and rich of tone with an impressive rendering of Ach, ich fuhls, the soprano touchingly conveying Pamina’s heartbreak and despair.” Lawrence A. Johnson, South Florida Classical Review, March 2010

Opera North’s Falstaff: “…the best singing came where it mattered most – from the lovely, demure Nannetta of Maria D’Amato, who displayed a soft-grained yet truly Italianate sound.” Opera News Online, November 2007

Seattle Opera Young Artist Program, Le Nozze di Figaro: “…Susanna, the lyrical Maria D’Amato, proved a remarkable comedienne.” The Seattle Times, April 2005

Seattle Opera Young Artist Program, Le Nozze di Figaro: “Maria D’Amato…perfectly polished and vivacious as Susanna” Seattle Weekly, April 2005

Sarasota Opera’s Don Carlos: “In the comprimario roles the standout was Maria D’Amato, an accomplished actress with a sweet soprano, playing Thibault, a pants role” Palm Beach Arts Paper, March 2009

Cincinnati College-Conservatory of Music, Cos`i fan tutte: “Maria D’Amato threatened to steal the show as the maid Despina; her richly expressive delivery was full of knowing looks” The Cincinnati Enquirer, 2004

Eugene Ballet’s, Carmina Burana: “Soprano Maria D’Amato sang the role of the beloved and was especially moving in the high tessitura of Dulcissime.” The Register Guard, Eugene Oregon, 2006