Reviews
Susanna
Le nozze di Figaro
Staatstheater Kassel, 2025
..My favorites were Susanna, sung by Marta Kristin Fridriksdottir, and Countess Almaviva (Margrethe Fredheim). With Susanna, I found it truly impressive how effortlessly she makes this huge role sound — in the high register as well as in the low. She brings such a wonderful naturalness to the character, which also comes across clearly in her acting.
Marta Kristin Friðriksdottir delivers a spirited and lively Susanna, brimming with vitality not only in her acting but also in her singing, with a bright soprano timbre and exceptionally clear articulation.
Göttinger Tageblatt - Michael Schäfer
No less brilliant was Marta Kristín Friðriksdóttir as the lively Susanna, who radiated pure joy of singing throughout the entire evening.
Donna Anna
Don Giovanni
Vorarlberger Landestheater, 2025
Donna Anna, Marta Kristín Friðriksdóttir — very convincing, with a wonderfully soft and emotionally rich soprano.
Zeitschrift für Kultur und Gesellschaft// Bettina Barnay-Walser
Fiordiligi
Così fan tutte
Staatstheater Kassel, 2024
“Ah, guarda, sorella”: From her very first appearance, new ensemble member Marta Kristín Fridriksdóttir enchants as Fiordiligi: youthful, vocally beautiful, secure in the high register. In the famous “Come scoglio,” but perhaps even more in the delicately presented aria “Per pietà, ben mio perdona,” she demonstrates her qualities
Iphigenie
Iphigenie in Aulis
Kammeroper Schloss Rheinsberg, 2024
In contrast, the young soprano Marta Fridriksdottir — a new addition to the Kammeroper Rheinsberg — delivers a dynamically compelling and surprisingly clear Iphigenia. With Fridriksdottir, one eagerly awaits the vocal color she will grow into in the coming years. … It is largely thanks to the principal performers that the spirit of Iphigenie in Aulis was preserved on this chilly opening night, which ultimately ended in the rain.
Icelandic Iphigenia is a prizewinner of the Rheinsberg Singing Competition: As the title heroine Iphigenia, Marta Fridriksdottir is outstanding. The young Icelander is among the prizewinners of the singing competition from which the Kammeroper annually casts talents for its productions from among hundreds of applicants — she had already impressed in a production the previous year. The soprano brings to her role equal parts sweet, childlike devotion and mature reason. In the end, she renounces her love for Achilles in order to sacrifice herself for the common good. … The love scene with Iphigenia (and Achilles) is also among the highlights of the evening.
Märkische Allgemeine // Regie Lox
The Icelandic, Vienna-trained soprano Marta Kristin Fridriksdottir portrays a daughter ready to make any sacrifice out of love for her father and her homeland. With a wonderfully agile soprano — flowing and floating completely freely both in the lower range and the high register — she shapes the lyrical legato lines with particular impressiveness. With empathy and intensity, she inhabits this idealistic character, who can seem difficult to explain from a modern perspective. I admit that I would have preferred to hear her in French, which — as intended by the composer, unlike the German translation — exemplarily demonstrates Gluck’s treatment of language, melody, and declamation.
Marta Fridriksdottir is an Iphigenia who sings with complete commitment, coloring her own death in the most beautiful tones. She loves Achilles heart-wrenchingly, yet is ready to sacrifice herself for her father’s honor and the future of her country.
New year's ceremony
Staatstheater Kassel, 2026
The evening's musical program was of a high standard. Icelandic opera singer Marta Kristin Friðriksdóttir, who celebrated her 30th birthday that evening and had lived in Vienna for many years, captivated the audience with her expressive voice and radiant stage presence