Irina Lungu - Soprano Singer

press

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    The Russian soprano Irina Lungu had a memorable, if unanticipated, Met debut as Gilda;
    Ms. Lungu’s voice has the brightness you associate with most coloratura sopranos, but also bloom and warmth, which are more unusual qualities…she is a first-rate Gilda, who conveys the restlessness and sensual yearning of the young woman, which prove her undoing.
    Anthony Tommasini, The New York Times

    La Lungu ha via via creato la sua Violetta: forgiata di rara freschezza vocale, dotata di fascino insolito, adolescenziale (da vedere, anche) ma lucida e drammatica fino all’ultimo; da cui lo stranito “Addio del passato”, soprattutto nella seconda strofa, difficile da dimenticare. è stato giustamente omaggiato per affetto, oltre che per la lezione di stile e di accento verdiano.
    Angelo Foletto, La Repubblica

    Possessed of a dark soprano that is even throughout her range, and boasting some secure coloratura, Irina Lungu is well cast as Gilda. She sings “Caro nome” from a swing high above the stage, with the lights of the circus tent – Radu Boruzescu’s single set – twinkling everywhere behind her.
    The Telegraph

    Irina Lungu es un nombre esencial del actual panorama lìrico internacional…
    Opera Actual

    Lungu, making her Staatsoper debut (she appeared as Violetta in 2012 as a guest at the Theater an der Wien) made the audience a compassionate participant in every moment of this character’s short life marked by love, jealousy, and sacrifice (we recall her intense rendition of the cabaletta ‘Sempre libera’).
    Daniel Wagner, Wiener Zeitung

    Lungu is a fascinating figure and a formidable actress. We were already familiar with her voice, a soprano of bright and incisive tone with outstanding high notes and a fine line. Her coloratura in the waltz was outstanding and her phrasing set the duet of the second act in a unique chiaroscuro, while the progressive maturation of her Giulietta proceeded with an exceptional richness of nuance without ever falling into mannerism. Thus likewise the duet of the third act acquired an overwhelmingly passionate intensity, with a unison high B on ‘Toujours à toi’ that shot out sparks.”
    Gianni Villani, L’Arena