as Carrie Pipperidge in Carousel

“Soprano Anya Matanovič’s effervescent Carrie Pipperidge was a delight.”

— A.Z. Madonna, Boston Globe
“Anya Matanovič is one of Boston’s finest singers and a very capable actress… Her rendition of “Mr. Snow” stirred us; she skillfully landed the tender, decades-old jokes Hammerstein wove into her lyrics.”

—Steve Landrigan, Boston Musical Intellegencer
“Anya Matanovič brings warmth and humor to Carrie Pipperidge, notably with a gorgeous ‘Mr. Snow,’ “ Robert Nesti, Edge Networ

— Robert Nesti, Edge Network
“There are many bright spots in the production, especially Matanovič, whose gorgeous soprano singing and sparkling performance imbue Carrie with light and life.”

— Shelley A Sackett, Insights
“Anya Matanovic has a standout performance as a bubbly, charismatic Carrie.”

— Maegan Bergeron-Clearwood, New England Theater Geek
“As Carrie, bright-voiced soprano Anya Matanovič delivers her songs with pitch-perfect gusto. “(When I Marry) Mister Snow” is one of the shows high points, along with her duet with tenor Omar Najmi as her stuffy but lovable herring fisherman.”

— Lloyd Schwartz, WBUR

as Lysia/Lysistrata in Mark Adamo’s Lysistrata

“Heading the strong cast in the title role, soprano Anya Matanovic displayed a voluptuous and flexible voice and played her comic moments with flair and timing.”

— Stephen Wigler, Boston Musical Intellegencer
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as Violetta in La Traviata

"Anya Matanovic — a longtime company favorite in roles such as Adina (L’elisir d’amore), Gretel (Hänsel und Gretel) and Pamina (Die Zauberflöte) — gives a knockout performance in the title role. This is the soprano’s second outing as Violetta, and she already invests the role with vocal sparkle and psychological depth. She is wholly convincing as the carefree party girl of Act I, dazzling the audience with nimble coloratura in “Sempre libera.” Yet the character’s dignity and resolve as she agrees to sacrifice her happiness in Act II don’t come as a surprise, because Matanovic has already shown us this side of Violetta with her reflective, darker-hued “Ah, fors’ è lui.” By the time Violetta’s story reaches its heartbreaking end, the audience has become fully invested in Matanovic’s performance.”

— Catherine Reese Newton, Utah Arts Review
"BLO has certainly been lucky in the rising star they’ve found to play Verdi’s fallen woman. Luminous soprano Anya Matanovic is blessed with a voice that more than matches her entrancing beauty: perhaps a bit hushed at the bottom, it nevertheless blooms to a glowing bouquet of color as it rises. What’s more, Matanovic has the effortless emotional presence of a born actress – and endows her Violetta with not only a passionate inner life but a convincing emotional integrity (which is a good thing, as she contemplates each and every romantic decision at length, and with utter candor)"

— Thomas Garvey, The Hub Review
" Matanovic is a flame that burns brightly. Her Violetta is played as coy and manipulative, but with a tender vulnerability. We forget that she’s a skilled courtesan and remember that she’s a young woman who’s never been loved for herself."

— Kitty Drexel, The New England Theater Geek
"Soprano Anya Matanovic gave a stellar performance, featuring finely executed technique and touching pathos. Tenor Rafael Moras as Alfredo matched well with Matanovic. Physically attractive and vocally adept, they easily projected the charisma and passion expected from this couple. Their finest moments came during the finale, showing futile defiance in “Ah, gran Dio!” and tragic acceptance of the inevitable to the dirge-like rhythms of “Prendi, quest’ê l’immagine.” Matanovic’s impressive coloratura in the first acts “Sempre libera” sparked plenty of fire.”

— Robert Coleman, Opera News
"The Violetta here, Anya Matanovic, is delightful. She has a crystal clear voice that does the trick for the demanding range required by the role. She is also a good actress, conveying the giddy sense of indifference required early on, and the devastated, then devotional, stances later on. "

— Boston Arts Diary
"Soprano Anya Matanovic was making her debut in the notoriously challenging role of Violetta, the ‘traviata'(fallen woman) of the title. Conventional wisdom has it that this role requires three different types of singer: agile high coloratura, near-dramatic, and full lyric. Matanovic seldom gave any indication of being less at home in any one type. The light, brilliant writing of the famously demanding Sempre libera (“Always free”) came off well… her galvanizing coloratura credibly suggested Violetta’s faux-happy near-hysteria as she tried to drown out Alfredo’s offstage declaration of love for her. In II.i (Part 1, sc. 2), the most vocally taxing part of the role, Matanovic excelled in the big singing of her dramatic exchanges with Germont. Yet some of her loveliest singing of the evening was her accession to Germont’s request that she renounce Alfredo for the sake of his sister’s wedding; this aria, sung largely piano, had a purity and restraint that tugged at the heart. In Act III (Part 2, sc. 2), the soprano was lyrically beautiful in “Farewell to happy dreams”, otherworldly in “Take this portrait”, and vibrantly joyous as Violetta in her cruelly short revitalization."

— Geoffrey Wieting, The Boston Musical Intelligencer
“Soprano Anya Matanovic was superb as the titular Fallen Woman”

— Richard Minerals, Montecito Journal

Production Photos

as Anne Trulove in THE RAKE'S PROGRESS

"As Anne Trulove, soprano Anya Matanovic found the innocence of the girl next door. She handled the work’s punishing leaps with aplomb, delivering a searching “No word from Tom” and a vibrant and precise 'I go, I go to him.' "

—Aaron Keebaugh, Boston Classical Review
"Soprano Anya Matanovic created a stunning Anne Trulove, a heroine who, as her the character's name suggests, is unflagging in her to devotion to her beloved Tom. Belying her petite stature, her voice is well-sized and focused. It is a soprano of great purity, and often quite affecting. Like her colleagues, she acted her role to perfection, and proved a noble and sympathetic heroine. "

— Ed Tapper, Edge Media Network
"Anya Matanovič was a magnetic Anne, singing with lilting, luminous confidence.”

— A.Z. Madonna, Boston Globe
“A fine soprano with refined dynamic control, Anya Matanovic made a warm-voiced Anne.”

— David Shengold, Opera (UK)

as Musetta in LA BOHEME

Formidably outstanding was Anya Matanovic, whose rich soprano credibly accomplished Musetta’s transformation from a femme fatale to a genuinely compassionate and devoted friend."

— Ury Eppstein, The Jerusalem Post
"Anya Matanovic was superb as a colorful Musetta with a beautiful color to her voice and stage charisma."

— Oran Binur, Maariv
"Anya Matanovic was a perfect match for her as Musetta, beautifully altering her voice from the bright, glorious colors in her waltz … to the sensitive expression in the last act."

— JEHOASH HIRSHBERG, Opera News

as Juliet in ROMEO AND JULIET

"Matanovič’s coloratura sparkled through “Je veux vivre” with secure top notes, well-controlled trills and fluent lyricism. She embodied the playfulness and carefree nature of youth. Her demeanor and vocal coloring subtly darkened as tragedy turned her world upside down. Matanovič’s final duet with Dennis was vocally satisfying and dramatically touching.”

—Robert Coleman, Opera News
“Anya Matanovic transforms Juliette from an idealistic child to a devoted woman, beginning with a voice as nimble and joyful as her youthful energy, growing into her own radiance in the balcony scene, and maturing into the full powers of her womanhood as she engagingly grapples with her decision to take the sleeping potion. That her demeanor and her voice both take the journey shows considerable skill and artistry.”

— Jennifer Mustoe, Front Row Reviewers
“Matanovič has appeared in several Utah Opera productions over the years, most recently in Mozart’s Die Zauberflöte and Le nozze di Figaro. She has always been impressive in her portrayals, and as Juliette, she was no less remarkable. She possesses a rich, warm soprano that is well suited for the sweet moments in her duets with Roméo, yet she also has the power to carry her own in the ensemble numbers and in Juliette’s famous waltz aria, “Je veux vivre.”

— Edward Reichel, Utah Arts Review

as Micaela in CARMEN

"Matanovic delivers Micaela’s purity with her lustrous and beautiful voice. A marvelous performance."

— James Karas, Press + 1
"Anya Matanovic’s exquisitely realized Micaela was the standout…"

— Anne Midgette, Washington Post
"As Micaela, Anya Matanovic displayed a lovely lyric soprano, enhanced by a fine-spun vibrato."

— Fred Cohn, Opera News
"American Soprano Anya Matanovič nails every note. As are so many performers at Glimmerglass, she is also youngish in years but highly skilled. To her good fortune, she is cast as an impressionable and virginal character, and her performance is more than simply believable—it is spot on."

— Gale Martin, Bachtrack
"Anya Matanovic displays a beautiful, sweet, even voice as Micaëla; she’s headed for a great career."

— Paula Citron, The Globe and Mail
"Anya Matanovič was a delectable Micaela, with a throbbing, slightly steely lyric soprano that conveyed more starchy resolve than is often encountered with this simple character."

— James Sohre, Opera Today
"Micaëla is sometimes a thankless role because her meek, church-mouse-like mannerisms do not stand up well against the rest of the complex cast of characters. However, this production has many tender moments between Don José and Micaëla that leave youcheering for her to win over José. Anya Matanovic performed the role of Micaëla with beautiful simplicity and her voice soared in her aria Je dis que rien ne m’épouvante."

— Joel Herold, Opera Pulse
"As Micaëla, Anya Matanovič — in her Glimmerglass Festival debut — delivered the most impressive vocal effort of the evening and a solid acting effort, as well. Dressed in a humble, plain-Jane costume, Matanovič projected an image of the iconic character Dorothy in the Wizard of Oz — fresh out of Kansas. She played her character to perfection, projecting an aura of innocence, simplicity and purity that contrasted sharply with that of Carmen… The lustrous quality of Matanovič’s sinuous soprano, with its golden timbre and silky-smooth legato, charmed the ears immediately when we first encounter her as a frightened peasant girl who has wandered far from home in search of her elusive fiancé. Her performance in the exquisitely written duet with Don José (Ma mère, je la vois) evoked endless shades of feeling and nuance. Matanovič’s signature third-act aria (Je dis que rien ne m’épouvante), which proved the artistic highpoint of the production, might have been used in a master-class to demonstrate nuance of phrasing, control of dynamics, maintaining quality of the high register and confident, effortless delivery. This was a first-class performance, and the most satisfying Micaëla I have heard to date."

—David Abrams, Musical Criticism
"Mind you Anya Matanovič’s Micaela, the village girl-friend come to entice Don José back to his home and mother, was so beautiful and compelling in her genuine love for José that one kept wishing he would pull back and really listen to her. Their duets in Acts I and III were extraordinarily lovely – Bizet no longer in Spanish mode but ‘singing’ to us in true lyrical French vein – beautiful indeed."

— Bill West, Table Hopping Magazine

as Dorinda in HANDEL'S ORLANDO

" a sensitive, daring cast fully committed to the hapless characters.... the darker-hued, dazzling Anya Matanovic..."

— Zachary Woolfe, New York Times
"Ms. Matanovic build the ingenue Dorinda into an exemplar of female empowerment flinging off her nerdy glasses and unfurling her pigtails as she vaulted the trills and scales of her final aria "Amor e qual vento".

— James Jordan, The NY Observer
"Both Kiera Duffy as Angelica and Anya Matanovic as Dorinda sang with lustrous tone and superb control, even when tasked with climbing over the subway bench or, in Matanovic's case, effecting a full transformation from nerd to club girl."

— Joanne Sydney Lessner, Opera News
"The show -stoppers are baritone Hadleigh Adams (Zoroastro) and soprano Anya Matanovic (Dorinda).... Matanovic has an enormously resonant voice that moves with lightness and agility while preserving its fullness. Her sound filled the entire room at all points in her register and during all her movements, even when facing the wall or with her face obscured by a prop. Her aria, "Amore e qual vento" was brilliantly and deftly performed, even as Matanovic pulled off a Sandra Dee-style transformation from innocent shepherdess to a woman empowered by her own sexiness."

— Alexis Rodda, Opera Today

More Reviews

"The entrance of Anya Matanovic (another debut) presented a promise of good things to come. Appropriately small and frail, she portrayed an instantly likable and sweetly fragile Mimi, singing with assurance and embracing a blessedly understated “Si, mi chiamano Mimì.”

—Marc Shulgold, Opera News
"Soprano Anya Matanovic is the standout as the doomed seamstress, Mimì. Her Act I aria soars to radiant heights, and her death scene at the end is as believable as possible, with just the right vocal inflections as Mimì fades away.”

— Kelly Dean Hansen, Denver Post
"The Two Maids briefly get some of the opera's most disarming music and have sometimes won glamorous casting (Edita Gruberove and Rita Streich number among Vienna's First Maids). They had it here, with two excellent young stars of regional opera (Lauren Snouffer and Anya Matanovic), both a pleasure to hear solo and blending"

— David Shengold, Opera News
as Abigail in THE CRUCIBLE "Anya Matanovic brought out every shade of nuance in their formidable adversary, the wily Abigail Williams”

— -Charles Donelan, Santa Barbara Independent
as Mabel in PIRATES OF PENZANCE: ..... he was matched by the exquisite Anya Matanovic, whose sweet tone and effortless range underpinned an independent, firecracker personality."

— Libby Hanssen, The Kansas City Star
"Anya Matanovic, another artist making her New Orleans debut, was a delightful Adele, reveling in the character's high jinks and sparkling in the coloratura. Matanovic's lovely singing brought to life all of the chambermaid's music, culminating in an effervescent Act III aria that was as charmingly staged as it was well sung."

— George Dansker, Opera News
"Among the best voices onstage was soprano Anya Matanovic, playing the maid Adele. Her coy "Laughing Song" of the second act displayed a brightly rounded coloratura. Throughout the performance, she also gave the duplicitous maid a richer warmth than is often heard in the role."

— Theodore P. Mahne, NOLA.com
"The two standouts of the cast, by far, were the sopranos Lauren Snouffer and Anya Matanovic, the two maids who taunt Leukippos and persuade him to disguise himself as a woman at the festival. Snouffer owns a lovely voice of crystalline focus, but shows not a hint of sharpness, remaining warm and liquid from top to bottom. Matanovic's instrument is two shades darker, with an added whiff of smoke. Moreover, the two women had as much dramatic presence between them as the rest of the cast combined; to hear them sing duets all evening would have been a thrill."

— Eric C Simpson, New York Classical Review
"His beloved Wanda, soprano Anya Matanovic, displayed a great deal more spirit and personality than the usual operetta soubrette ever does, and one could imagine her becoming a formidable despot herself, one day."

— William V Madison, GB Opera Magazine
"Soprano Anya Matanovic made a most winsome Adina, with a glittering voice and abundant charm."

— Catherine Reese Newton, The Salt Lake Tribune
"Most enchanting of all was Anya Matanovic, who spun Nannetta’s Fairy Queen air with such gossamer grace that the audience’s cheers nearly disrupted the act’s momentum."

— Theodore Deacon, Opera Magazine
"Matanovic sounded ethereal in Nannetta’s offstage “Ninfe! Elfi! Silfi!” then full-bodied and beautiful at center stage in the rest of the scene."

— Mark Mandel, Opera News

“Soprano Anya Matanovič’s effervescent Carrie Pipperidge was a delight.”

“Anya Matanovič is one of Boston’s finest singers and a very capable actress… Her rendition of “Mr. Snow” stirred us; she skillfully landed the tender, decades-old jokes Hammerstein wove into her lyrics.”

“Anya Matanovič brings warmth and humor to Carrie Pipperidge, notably with a gorgeous ‘Mr. Snow,’ “ Robert Nesti, Edge Networ

“There are many bright spots in the production, especially Matanovič, whose gorgeous soprano singing and sparkling performance imbue Carrie with light and life.”

“Anya Matanovic has a standout performance as a bubbly, charismatic Carrie.”

“As Carrie, bright-voiced soprano Anya Matanovič delivers her songs with pitch-perfect gusto. “(When I Marry) Mister Snow” is one of the shows high points, along with her duet with tenor Omar Najmi as her stuffy but lovable herring fisherman.”

“Heading the strong cast in the title role, soprano Anya Matanovic displayed a voluptuous and flexible voice and played her comic moments with flair and timing.”

" Matanovic is a flame that burns brightly. Her Violetta is played as coy and manipulative, but with a tender vulnerability. We forget that she’s a skilled courtesan and remember that she’s a young woman who’s never been loved for herself."

"The Violetta here, Anya Matanovic, is delightful. She has a crystal clear voice that does the trick for the demanding range required by the role. She is also a good actress, conveying the giddy sense of indifference required early on, and the devastated, then devotional, stances later on. "

“Soprano Anya Matanovic was superb as the titular Fallen Woman”

"As Anne Trulove, soprano Anya Matanovic found the innocence of the girl next door. She handled the work’s punishing leaps with aplomb, delivering a searching “No word from Tom” and a vibrant and precise 'I go, I go to him.' "

"Anya Matanovič was a magnetic Anne, singing with lilting, luminous confidence.”

“A fine soprano with refined dynamic control, Anya Matanovic made a warm-voiced Anne.”

Formidably outstanding was Anya Matanovic, whose rich soprano credibly accomplished Musetta’s transformation from a femme fatale to a genuinely compassionate and devoted friend."

"Anya Matanovic was superb as a colorful Musetta with a beautiful color to her voice and stage charisma."

"Anya Matanovic was a perfect match for her as Musetta, beautifully altering her voice from the bright, glorious colors in her waltz … to the sensitive expression in the last act."

"Matanovic delivers Micaela’s purity with her lustrous and beautiful voice. A marvelous performance."

"Anya Matanovic’s exquisitely realized Micaela was the standout…"

"As Micaela, Anya Matanovic displayed a lovely lyric soprano, enhanced by a fine-spun vibrato."

"American Soprano Anya Matanovič nails every note. As are so many performers at Glimmerglass, she is also youngish in years but highly skilled. To her good fortune, she is cast as an impressionable and virginal character, and her performance is more than simply believable—it is spot on."

"Anya Matanovic displays a beautiful, sweet, even voice as Micaëla; she’s headed for a great career."

"Anya Matanovič was a delectable Micaela, with a throbbing, slightly steely lyric soprano that conveyed more starchy resolve than is often encountered with this simple character."

" a sensitive, daring cast fully committed to the hapless characters.... the darker-hued, dazzling Anya Matanovic..."

"Ms. Matanovic build the ingenue Dorinda into an exemplar of female empowerment flinging off her nerdy glasses and unfurling her pigtails as she vaulted the trills and scales of her final aria "Amor e qual vento".

"Both Kiera Duffy as Angelica and Anya Matanovic as Dorinda sang with lustrous tone and superb control, even when tasked with climbing over the subway bench or, in Matanovic's case, effecting a full transformation from nerd to club girl."

"The entrance of Anya Matanovic (another debut) presented a promise of good things to come. Appropriately small and frail, she portrayed an instantly likable and sweetly fragile Mimi, singing with assurance and embracing a blessedly understated “Si, mi chiamano Mimì.”

"Soprano Anya Matanovic is the standout as the doomed seamstress, Mimì. Her Act I aria soars to radiant heights, and her death scene at the end is as believable as possible, with just the right vocal inflections as Mimì fades away.”

as Abigail in THE CRUCIBLE "Anya Matanovic brought out every shade of nuance in their formidable adversary, the wily Abigail Williams”

as Mabel in PIRATES OF PENZANCE: ..... he was matched by the exquisite Anya Matanovic, whose sweet tone and effortless range underpinned an independent, firecracker personality."

"Among the best voices onstage was soprano Anya Matanovic, playing the maid Adele. Her coy "Laughing Song" of the second act displayed a brightly rounded coloratura. Throughout the performance, she also gave the duplicitous maid a richer warmth than is often heard in the role."

"His beloved Wanda, soprano Anya Matanovic, displayed a great deal more spirit and personality than the usual operetta soubrette ever does, and one could imagine her becoming a formidable despot herself, one day."

"Soprano Anya Matanovic made a most winsome Adina, with a glittering voice and abundant charm."

"Most enchanting of all was Anya Matanovic, who spun Nannetta’s Fairy Queen air with such gossamer grace that the audience’s cheers nearly disrupted the act’s momentum."

"Matanovic sounded ethereal in Nannetta’s offstage “Ninfe! Elfi! Silfi!” then full-bodied and beautiful at center stage in the rest of the scene."