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"Lara Martins makes an exceptional Carlotta: a captivating voice of real power, bright and brilliant no matter what the note, agile, and sturdily supported.
Martin’s’ control as a singer is exceptional with the result that her status as Supreme Diva is unquestioned – and very entertaining. Her characterisation is perfect: she is a ball-breaking power ball of rapacious delight, puffed with self-importance. Delicious in every respect.”



"...Lara Martin’s unquestionable vocal ability continue to be one of the outstanding features of the show…" 

West End Frame


"Martin’s was an absolutely stand out performer in the already high quality show..”

Curtain Call, Rebecca Felgate


"Lara Martins was hilarious as Carlotta Giudicelli, her facial expressions were comedy gold…” 

West End Frame

“Lara Martins brings a new level of comedy to the part of Carlotta and was a joy to watch.”

West End Wilma, 


“Lara Martins has quietly carved a slice of theatrical history by becoming the longest-running Carlotta in the history of The Phantom of the Opera.

“Lara Martins and Paul Ettore Tabone as Carlotta and Ubaldo, the leading singers at the fictional opera house, have the tricky task of sending up the general operatic style whilst still singing credibly. Both proved particularly adept, and Martins account of Carlotta's coloratura flights was far more than just creditable, and Tabone showed some nice comic timing”

Robert Hugill, Planet Huggil - A world of Classical music. 

"The duo of Lara Martins as Prima Donna Carlotta and Paul Ettore Tabone as Ubaldo Piangi is telling his Carlotta be the shinning star she wants to be and shares the spotlight with her only, when the Diva allows this. Martins seems to bloom in this relationship. She plays the Diva in sheer perfection.

Both Tabone and Martin come from an opera background, which compliments their performances and allows that we see the dream team of London's Phantom of the Opera.”

Voice and organ recital, Festival Heures d'orgue, Chamonix-France


“La soprano Lara Martins a enchanté le nombreux public avec une voix puissante et veloutée, qui a magnifié le repertoire présenté...”


(N.P.F , Le dauphiné Liberé)

Recital Festival Internacional de Música de Alcobaça


“Lara Martins mostrou uma segurança vocal rara e motivadora, fazendo muito mais do que simplesmente cantar... A elasticidade e o arrojo do seu canto foram mesmo interpretação pura, apoiadas num superior requinte técnico e num posicionamento cénico exemplar. Um recital enormíssimo em termos de qualidade! “


“Lara Martins showed a rare vocal security, doing much more than just sing ... 

The resilience and courage of her singing were pure interpretation, supported by high technical abilities. A recital of exceptional quality! "



Le Nozze di Figaro, Mozart

Teatro da Trindade, Lisboa


“Os cantores estiveram entre o correcto e o admirável, com destaque para a excelente prestação de José Corvelo como Figaro, de Lara Martins como Susanna e de Teresa Gardner como contessa.”

“ The singers were between the correct and admirable, with an outstanding performance of  Lara Martins as Susanna..."

( Jornal Publico, Manuel Pedro Ferreira)


L'elisir d'amore, Gaetano Donizetti, 

Swansea City Opera 2008/2009 UK Tour


“Lara Martins, as the attractively wilful Adina executed her feats of coloratura very impressively.”


(Huddersfield Daily Examiner, John Knighton)

Il Capello di Paglia di Firenze, Nino Rota, Teatro Nacional de São Carlos


“A jovem soprano Lara Martins exibiu apreciáveis dotes teatrais e belos agudos...”


(Manuel Pedro Ferreira, Público)



Viennese Strauss gala

Waterford Theater Royal, Ireland


“Lara Martins was splendid on the Fledermaus hit Laughing Song.“


( Munster Espress, John O’Connor)

Opera Gala

Opera de Marseille


“ Une voix de plus fraîches, celle de la Portugaise Lara Martins, légère e corsée à la fois, se jouant des vocalises périlleuses et una interprétation plein de charme, témoignant d’une sûreté absolue dans toutes les notes de son programme.

Quelle délicieuse Blondchen de “L’enlévement au sérail” (Mozart), gracieuse et souriante, y compris  dans l’extrême aigu, quelle séduisante  Norina “ Don Pasquale “ (Donizetti) et quelle Nanette de rêve du “ Falstaff” de Verdi!”


(La Marseillese, Simone Serret)


ll mondo della luna, Joseph Haydn 

Opera East

“Lara Martins brought charisma and spunk to Buonafede's second daughter, Flaminia.”


(Hannah Nepil,  Magazine Opera Now)

Die Drei Pintos, Weber/Mahler, Bloomsbury Theater, March 2011

“As Clarissa herself, Lara Martins revealed a touching voice.”


(Nick Kimberley, Magazine Opera Now)

Julie ,Philippe Boesmans

Teatro Comunale di Bolzano


“Ottimi i tre solisti bolzanini, Cynthia Jansen, Lara Martins, Marcus DeLoach. Gran successo.”


(Carla Moreni, Il Sole 24 ore)


“Lara Martin's Adina was  wonderful.”


(Theatre in Wales, Chris Paul)


“...But enough of these amusing transformations.  The singing eclipses them, from Brendan Wheatley's arresting buffo cavatina Udite, udite, o rustici and Mr Evans's perfectly-pitched Una furtiva lagrima  to everything Ms Martins is required to sing.”


(South Wales Argus, Nigel Jarrett)

“The performances are uniformly excellent, with not a single weak link in a company that includes Gareth Huw John, Lara Martins, Robert Davies, Brendan Wheatley and Rebecca Ivey.”


(Swansea Evening Post,Graham Williams)

“Lara Martins' silvery soprano created a perky and teasing Adina that was well able to cope with Donizetti's vocal acrobatics.”


(Yorkshire Post, David Denton)

Il Signor Bruschino, Rossini, 

Opera National de Bordeaux


“La parti pris et servi avec loyauté par les chanteurs... Lara Martins ( Sofia) à la voix fraîche et douce…”


(Sud-Ouest, Catherine Darfay)


Dick Whittington, Jaques Offenbach, 

Bloomsbury Theater, London

“Lara Martins was great as the bustling Princess Hirvaia.”


(The Times, Robert Thickness)

“Especially good were Lara Martins’s vivacious Princess Hirvaia…”


(The Observer, George Hall)

“Applausi agli interpreti ,Cynthia Jansen, Lara Martins, Marcus DeLoach, eccezionali attori-cantanti.”


(Monique Ciola,Giornale della musica)

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