“Earlier in the opera, back when she was still alive, the Gilda created by Uliana Alexyuk, is vocally amazing. She was a last-minute replacement, borrowed from the cast of The Passenger, which means she sang multiple shows on adjacent days. Consider the challenges presented of singing such diametrically separated roles in two operas that couldn’t be more different. But Gilda is a perfect fit at this stage of her career (and maybe always). The coloratura flights that Verdi wrote for the role are sung like shivers of the exhilaration of first love, rather than showoffy cadenzas. She sings the role so effortlessly, and in such a natural manner, that it’s easy to forget all about of its difficulties.”
-Gregory Sullivan Isaacs
“Alexyuk, poignantly charming as doomed Ivette in The Passenger, has a voice like glass: transparent and crystalline. It cuts through the orchestra and still manages to run up and down the scales with frightening agility and clarity. Her famous coloratura showstopper, Caro nome,” (“Sweet name”) is her apotheosis to first love, a giddy song from her young heart.”
– D.L. Grover
“Il ruolo di Gilda è stato reso in maniera adeguata dal soprano ucraino Uliana Alexyuk: fragile e vulnerabile nella sua caratterizzazione, dopo un inizio un po’ freddo è cresciuta in intensità fino alla sua aria “Caro nome”, in cui ha mostrato coloratura, flessibilità e luminosità vocale.”
-Carlo Rosas T.
Ulyana’s HGO debut as Adele’s sister Ida in Die Fledermaus! She will be covering Adele, as well in this mainstage production.
Prince Orlofsky’s costume ball-the most coveted invitation of the year-drives the action of this urbane farce by Johann Strauss.Captivating serenades, a famous Hungarian csárdás, and, of course, lilting waltzes, permeate the luscious score from the “Waltz King.” A stylish deco-inspired setting adds to the witty, sophisticated fun.
“[Liam Bonner] is a find, tall and good looking, with a big, beautiful baritone that filled the theater with ease … ardent and believable.” – St. Louis Post- Dispatch
“Harmer has a big, billowing, shiny soprano that seems ideally suited to the bold heroines of the German Romantic repertory.” – Opera News
“Seductive and sultry, [Claycomb] slew the audience with vocal theatrics.” – Houston Chronicle
“… mezzo-soprano Susan Graham added one more entry to her long list of triumphs with the company, turning in a performance marked by nobility and technical bravura.” – San Francisco Chronicle