PressCritics celebrate successful debut as Elettra in “Idomeneo” in Vienna

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Following her role debut as Elettra in Idomeneo at the Vienna State Opera, Irina Lungu has received wonderful reviews from critics for her beautiful singing and dramatic skill:

 

“… As Elettra, Irina Lungu’s desperate outbursts of madness before the finale were breathtaking…

Wilhelm Sinkovicz, Die Presse 02/2019

 

“The role debutant Irina Lungu, also known as guest, is assigned to Elettra in the central quartet Idomeneo-Idamante-Ilia-Elettra. The Russian soprano, a coveted Traviata on the opera stages of the world, does her job with a well-managed voice and dramatic talent. The aria “Idol mio” in act 2 makes one sit up and take note, but the farewell scene “D’Oreste, d`Ajace ho in seno i tormenti” does not miss its shattering effect.”

Manfred A Schmid, Online Merker 02/2019

 

“Irina Lungu showed the great tragedy of Elettra, using her soprano to its full potential in her final tortured aria.”

Zobl, Kurier 02/2019

 

“The best vocal performance of the evening was Irina Lungu. As Elettra she also had the most thankful aria of the whole piece. Technically sung, very clean, with clear heights, pleasing to hear she could play her strengths. You can look forward to seeing her again in June. ”

Kurt Vlach, Online Merker 02/2019

 

“…Irina Lungu the Princess Elettra with a brilliant soprano voice…”

Karlheinz Roschitz, Kronen Zeitung 02/2019

 

“Irina Lungu, the most dramatic voice in this quartet of relationships, pushes Elettra to her limits.”

Marion Elgl, Wiener Zeitung 02/2019

 

“Moving on to the singers, let’s start with Electra. This is a real primadonna role, which, with the brilliant brightness of its musical and dramatic texture, overshadows  the lyrical part of Ilia. Irina Lungu, our compatriot who is today at the peak of her international career, is an unforgettably luxurious Electra. Her sensual soprano in the image of the negative heroine fascinates with subtle psychological dressing, impeccable singing culture, stunning sense of style, meticulous skill, freedom of elegant courage and, more importantly, vocal drama, coming from the generosity of the actor’s soul and musical nature. The image is mellow, but also very complex. Singing a serious Mozart with a “dramatic slant” is always difficult and full of responsibilities, but this time the antagonist part of Electra has simply found her performer!”

Igor Koryabin, Bel Canto 02/2019

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