“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.