Erstaunlich ist, dass Guleghina nicht auf die nach wie vor vorhandene Stentorkraft ihres stabilen Soprans vertraut, sondern faszinierend nach zarten Zwischentönen sucht - und diese auch findet. Das grandiose Diminuendo..
Maria Guleghina, however, was a force of nature, and her masterly, enthralling, emotionally nuanced performance of Abigaille is one to make a skeptic take the role seriously.
Amongst the Honorary Board Members attending were HRH Crown Princess Victoria of Sweden, HRH Princess Margriet of the Netherlands, HSH Prince Albert of Monaco, and soprano Maria Guleghina.
An der Spitze der Kraftfraktion ist Maria Guleghina als Abigail zu nennen, die mit großer Intensität die Rolle der bösen Tochter auslebte.
Maria Guleghina made a magical debut as Aida on stage of the Mariinsky Theatre.
With the part of Eboli, Maria Guleghina brought to the Bolshoi something greater. Charismatic personality, absolutely tremendous reality of life on stage, the all destroying legend of her amazing career.
... la señora Guleghina interpretó a cada uno de sus personajes, y pudimos así penetrar en la sórdida atmósfera del valle de los ahorcados y sentir la petición-reclamo-deseo en el pedido a Ernani.
Only Ms. Guleghina livened things up. As the malicious Abigaille, her diva act was as delicious as it was in the role at the Met recently, and on Saturday she was in even better voice ...
Guleghina has the right steely voice for the role, with absolute freedom at the top.
She sounded comfortable with its myriad challenges Wednesday, tossing off heroic high notes and acting the part of the ice princess with appropriate menace.
Ein schmerzerfüllter Schrei durchdringt die aufgeregte Kampfszene einer zum Zerreißen gespannten Atmosphäre - alles Leid der Santuzza legt Maria Guleghina in dieses hohe C, mit dem sie spielend den Raum füllt.
Maria Guleghina zauberte als Lisa mit kräftigen, klaren Soprantönen.
Maria Guleghina sang Abigaille, a perennial role for her in this house, with great power and prowess, maneuvering between the coloratura passages and full-voice attacks with apparent ease.
"... ha visto protagonista una straordinaria Maria Guleghina ..."
La soprano ucrania Maria Guleghina, que ya cantó ese papel en el Nabucco liceísta de 2006, resultó, una vez más, una Abigaille ideal, poderosa, imponente.
Übrig blieben musikalische Leuchtraketen: Die ukrainische Starsopranistin Maria Guleghina gab als Gulnara, Sklavin und schicksalsgetriebene Mörderin, ein wenig selbstironisch die Primadonna.
It is rare to hear any singer so superbly suited to any role as she is to Santuzza. Critics often praise the effortless power of her spinto instrument, but here her restraint and sincerity are even more impressive ....
La prima areniana di «Turandot» non ha tradito le aspettative. Maria Guleghina nel ruolo della protagonista, già interpretato in passato con successo . . .
Per lei applausi scroscianti all‘auditorium di Torre del Lago - Elegantissima, bella presenza, sorridente, spigliata.
Il famosissimo soprano, uno dei migliori interpreti della lirica e delle opere del Maestro Puccini nel mondo, ha infatti la musica che le scorre nelle vene.
La soprano ucraniana, que posee una voz dramática de gran envergadura . . .
Maria Guleghina is in great form. In her entry aria, In questa reggia, the phrases follow one another with a compelling increase of tension so that her top C receives the fullest effect.
It is to the credit of Maria Guleghina, the Russian soprano, that she brought that across . . . those qualities were mostly harnessed in the service of an effective interpretation of the role.
Sopranistin Maria Guleghina gilt seit der Premiere als beste Turandot und "La Donna Puccini."
Guleghina knows what melodrama is all about. When her Adriana, feverishly dying, cried, “Melpomene son io!” one did not quite believe it, but one did believe that Guleghina, as Adriana, believed it.
And during her final scene, when Lisa despairs of the unhinged Ghermann, Ms. Guleghina knocked you into submission through the sheer power and hard-edged gleam of her singing.
Die beste Turandot der Welt: Maria Guleghina kommt nach Dortmund.
Maria Guleghina, still an awe-inspiring Abigaille, was at her most affecting in her lyrical and repentant moments, particularly in her final “Su me morente, esanime."
Guleghina's glamourous stage presence is allied to bright and powerful tone that never turns hard, making her one of the outstanding dramatic sopranos of her generation.
Mit Aplomb warf sie sich in Verdis schwierige Partitur, lotete dabei dennoch fein alle Stimmungen aus . . .
. . . she sang her first New York Norma with bel canto brilliance and an almost blood-curdling gusto.
Almost girlish in the first act, frightened and desperate in the middle ones, and nobly passionate in the final, Guleghina succeeds . . .
Guleghina is shown at her best here. She is a singer with a huge voice . . .
It was a long time since the Teatro Colón was not inundated by a voice of the sumptuousness, volume and beauty as the one that Ukrainian Maria Guleghina let us listen to in her only contact so far with the local public.
Mehr noch als mit dem Sänger der Titelpartie, steht und fällt jede Aufnahme von Verdis "Nabucco" mit der Interpretin der Abigaille.
Maria Guleghina made a vivid and exciting Aida ...
An Originalität ließ es der Liederabend von Maria Guleghina in der Deutschen Oper nicht fehlen.
There hardly seems a better choice for the title role than Maria Guleghina, world-renowned Russian soprano. She seems to tap directly into the inner emotions of the role, moving from joy to jealousy ...
" ... last night, when the cheering audience jumped to its feet at the end of Nabucco, it wasn't to cheer the eponymous hero ... but rather the truly superb Abigaille of soprano Maria Guleghina."
The soprano Maria Guleghina brings her powerful voice and presence to the role of Dolly.
Her soprano is the real thing . . . [her] rapturous voice captures essence of Verdi . . .
Maria Guleghina is today the most important soprano drammatico d’agilita of her generation.
Today, I study every day like a student. I'm just a normal person. Every day when you go on stage, it's a test.
As the Lady, Odessa-born Maria Guleghina confirmed the impression I got in Roma six months earlier: to wit, a tremendous dramatic presence with nearly limitless vocal means.
Most strikingly, and very usefully in this opera, Ms. Guleghina can rise from her gentle kind of delivery to be heard over a stage full of chorus and principals ... a change from silver to gold.
Maria Guleghina, grenzt an ein Wunder.