Critical Acclaim

Article Index
Critical Acclaim
Critical Acclaim page 2
All Pages
SUSANNA:
“...Lyubov Petrova sang like a goddess as a voluptuous, vivacious Susanna, offering 
a ‘Deh vieni’ layered with humor, warmth, sensuality and an ineffably beautiful pianissimo high B-flat...”   
Opera News by JOANNE SYDNEY LESSNER                                                                                                 
“...Lyubov Petrova made an enchanting, Freni-like Susanna, looking and sounding terrific...”
The Boston Musical Intelligencer by David Shengold
<<The real star of this production is the Russian Lyubov Petrova, whose large, sweet voice carries well 
throughout the Music Hall, in itself no small feat. Petrova sings with a warmth that perfectly suits the 
role of Susanna, who I always thought should be the very embodiment of the desirable young bride, petite and delicate, 
yet also shrewd and capable of protecting herself and her abiding interests in Figaro. >>
Dean Cassella, FORT WORTH RENAISSANCE,   25th November 2008 
CLEOPATRA:
 
Lyubov Petrova was a stunning Cleopatra, with a soprano of ravishing, changeable beauty, 
blazing high notes and magnetic stage presence. Her "V'adoro pupille" and 
"Se pietà di me non senti" were particularly exquisite. 
Opera News by JOANNE SYDNEY LESSNER
<<… Saturday night …  Lyubov Petrova, a soprano, a dynamic, alluring Cleopatra … proved superb Handelian, 
negotiating fast, florid lines and heart-wrenching slow arias with equal flair.>>
By STEVE SMITH,  NYTIMES    Published: August 10, 2008 
<<First and foremost, the stellar performance of the Glimmerglass summer (and every season has one) surely 
has to be the “Cleopatra” of Russian Lyubov Petrova who I found quite effortlessly magnificent. “V’adore pupille” 
and “Piangerò” were just flat out sensational. “Si pietà” got off to a dodgy orchestral start, but our diva pulled it 
into rhythmic focus quickly enough. Ms. Petrova is possessed of a gleaming and substantial lyric voice, with radiant 
sotto voce capabilities, and a full arsenal of gleaming coloratura fireworks at her command. The soprano already has 
major Met credits on her resume and small wonder, for she is a major talent. Watch for her at an opera house near you. 
You will thank me.>>
James Sohre, OPERA TODAY
“...She is nothing short of sensational, the Russian soprano Lyubov Petrova. As Cleopatra in Giulio Cesare, 
she sings incredibly, acts equally superbly and makes a stunning presence whether flirting, making love or 
lamenting a tragedy. In her debut with the company, Petrova mesmerizes audiences so much they are tempted to give 
her standing ovations in the middle of this performance of Handel's work.” 
 The Post Standard CNY Weekend and Stars by Joan Vadeboncoeur
                                          
                                        
LUCIA:
Russian soprano Lyubov Petrova puts her distinctive — and memorable — stamp on the celebrated aria. 
Petrova, a commanding actress and a singer with seemingly inexhaustible power and blazing technique, impresses 
throughout the production, but the mad scene — as it should — climaxes her performance. 
Alternately hushed and explosive, she evocatively conveys Lucia's hallucinations and fast-shifting moods, 
without falling into the easy trap of overacting. It is a suitably scary yet poignant portrayal. 
At the same time, Petrova handles the aria's intricate ornamentation, leaps in register and other notable vocal 
challenges with flawless accuracy and seeming ease. 
By Kyle MacMillan
Denver Post
Lyubov Petrova made Lucia a multilayered figure, though intense and febrile from the start.
Petrova does nothing false onstage (no lunatic shrieks for this Lucia) and combines welcome, 
shining tone with expressive phrasing and good musical instincts. Floated high lines were ravishing; 
Opera News by DAVID SHENGOLD
GILDA:
“Lyubov Petrova captured the naïveté and purity of Gilda with eloquent, refined singing...
marvelously spun on threads of silken tone, and the soprano was equally compelling when 
the temperature rose in the subsequent acts.”
Opera News by Tim Smith
"...Soprano Lyubov Petrova's light, delicate coloratura voice was a perfect choice for the role 
of the teenage Gilda, Rigoletto's charming daughter whose naivete and selflessness prove to be her undoing. 
Her marvelously nuanced first act aria, "Caro nome che il mio cor" ("Dear name, engraved on my heart"), w
as girlishly effective, and her ensemble work with Mr. Alvarez was superb..."
 The Washington Times 
…in part because the radiant Gilda of Russian soprano Lyubov Petrova was so ravishing, in every way, 
that she bore nearly as much of the dramatic weight as did the title role…  Petrova’s 
instrument was all satin warmth. She had the agility and range for the showy “Caro nome,”
 but she was even more impressive finding wonderful nuances of phrasing and dynamics in the 
delicate “Tutte le feste al tempio.” She riveted the attention not with raw power, but 
with finesse, astonishing accuracy and a pianissimo to die for.>>
Incident Light by Mike Greenberg
Lyubov Petrova wears the sequestered ingenue's innocence well, her face sweetly open with trust, her soprano as pure and light 
as snowfall or the milk-white shawl she clutches to her heart. Listening to her sing "Caro nome" is like reclining into a bed of silk pillows: 
elegant, smooth, luxurious" 
The Austin Chronicle by ROBERT FAIRES:
                                                                                 
                                                                                  
zERBINETTA:
"...Ms. Petrova... was a vocally scintillating and delightful Zerbinetta..."
The New York Times By ANTHONY TOMMASINI
Published: April 16, 2001
SIMON WILLIAMS, OPERA NEWS:
<< …Petrova’s Zerbinetta had enough sex-appeal in her little finger to fill the entire 
Dorothy Cha ndler Pavilion, and she goaded her hilarious quartet of lovelorn comic masks — 
here costumed as garishly accoutered beachgoers — to heights of farcical invention. 
But in the middle of her great aria, delivered with impeccable control and accuracy, 
Petrova unexpectedly turned toward Ariadne’s cave as if pleading for understanding. 
This Zerbinetta’s obsession with different men created as much turmoil within her 
as the abandonment by Theseus caused Ariadne; she was as vulnerable “onstage” as she had 
been in the Prologue, so that her kinship with Ariadne was stressed as much as, 
or even more than was her difference from her…>>
SIMON WILLIAMS, OPERA NEWS:
The role of Zerbinetta, which features one of the most difficult coloratura arias in all of opera, demands a true vocal acrobat – 
and on opening night the beautiful Lyubov Petrova delivered stunning musical cartwheels in both acts. As a less-bawdy-than-usual
Zerbinetta, she managed both the fun and the genial philosophizing with operatic zest.
The Urban Man By Marc Porter Zasada
LACME:
Ms. Petrova everywhere proved worthy of the title role on Friday, 
negotiating even the hair-raising acrobatics of the famous Bell Song with free and open tone.
The New York Times By JAMES R. OESTREICH
Published: June 2, 2003
As Lakmé, she provided the complete package: beauty, bearing, understated emotion, 
clear and elegant coloratura that never got in the way of a heartfelt portrayal. 
Her Lakmé was as innocent as her Despina was cunning, and the look she gave Gérald 
as he returned to see her die mingled surprise, resignation and bliss.
OperaNews by LAWRENCE TOPPMAN:
Lyubov Petrova dispatched Lakme's "Bell Song," the
opera's most famous number, with as much agility as Pons - and with tones
that may have been even more full bodied and brilliant. When her voice
welled up in the ensembles fired up by Lakme's disapproving father,
Petrova's power gave Lakme a passion and strength of will that made her his
match. In the scenes with Gerald, Petrova's silky tones - especially when the music
sailed aloft - let her savor the tenderness of Delibes' tunes. Not only did
the caressing tones capture the air of romance, but Lakme's innocence came
through, too. Petrova made it especially poignant after Lakme and Gerald's
first kiss. As Gerald left the stage, Petrova's Lakme gently touched her
fingers to her lips, then a smile took over her face: Love's awakening
became visible.
The Charlotte Observer By STEVEN BROWN
No doubt about it, the opening night performance of Lakme was a personal triumph for 
Russian soprano Lyubov Petrova in the title role. Every woodland call from the Brahmin princess 
gurgled like a pure stream. Every pianissimo glistened and floated like pure silk. And when 
she reached the climactic "Bell Song," luring the amorous Gerald into her father's clutches, 
Gaillard Auditorium erupted into applause and cheers -- halfway through the aria. An exultant 
maestro Emmanuel Villaume joined the applause from the orchestra pit (after the aria), later hoisting 
his star in the air upon joining her onstage for curtain calls.
Creative Loafing Charlotte BY PERRY TANNENBAUM
Published 06.04.03
GLYNDEBOURNE:
<< Vladimir Jurowski conducts a sparkling Glyndebourne performance of Prokofiev's Betrothal in a Monastery, 
with the ravishing Lyubov Petrova as its star… 
Vocal honors among the cast go to Lyubov Petrova, who has just 
the right weight soprano and girlishly sweet timbre for Louisa. She hits every note dead-on, even during those 
tricky Prokofiev interval jumps during recitatives; her solid rhythmic sense means that little touches such as 
the "Tak tak tak" and "da da da" triplets  in the Act III scene at Mendoza's house sound as precisely articulated 
as a tongued note by a flutist. Petrova, along with the Antonio of Vsevolod Grivnov, gets to sing one of the most 
ravishing love duets ever written, "Moya mechta" (My dream)  , and it is sung beautifully indeed; the melody's 
opening upward octave leap perfectly captures the sky-high romantic expectations of a teenage girl…>>
(recording of  CD: PROKOFIEV: BETROTHAL IN A MONASTERY)
OperaNews Betrothal recoding, Editor's Choice:
by JENNIFER MELICK  
Vocally, the performance of the night came from Lyubov Petrova's sparkling Adele..."
Erica Jeal
The Guardian, Wednesday 6 August 2003
The vocal star is easily the Adele of Lyubov Petrova.
Spectator, The,  Aug 9, 2003  by Tanner, Michael
JULIET:
Petrova, who was so impressive last season in her debut as Zerbinetta in "Ariadne auf Naxos," 
seized the opportunities in presenting Juliet to reveal other dimensions of her artistic range. 
The soprano's agility served the sensuality in Gounod's opera, while her warmth and coloristic range were enthralling. 
Juliet was a triumphant role debut for Petrova.
By Mark Kanny / Pittsburgh
TRIBUNE-REVIEW CLASSICAL MUSIC CRITIC
Monday, November 13, 2006 

"...Lyubov Petrova was a stunning Cleopatra, with a soprano of ravishing, changeable beauty, blazing high notes and magnetic stage presence. Her "V'adoro pupille" and "Se pietà di me non senti" were particularly exquisite..." 
OPERA NEWS
 - Joanne Sydney Lessner 

"…Lyubov Petrova, a soprano, a dynamic, alluring Cleopatra
… proved superb Handelian, negotiating fast, florid lines and heart-wrenching slow arias with equal flair..."
THE NEW YORK TIMES
- Steve Smith 

"...First and foremost, the stellar performance of the Glimmerglass summer (and every season has one) surely has to be the “Cleopatra
” of Russian Lyubov Petrova who I found quite effortlessly magnificent. “V’adore pupille” and “Piangerò” were just flat out sensational. “Si pietà” got off to a dodgy orchestral start, but our diva pulled it into rhythmic focus quickly enough. Ms. Petrova is possessed of a gleaming and substantial lyric voice, with radiant sotto voce capabilities, and a full arsenal of gleaming coloratura fireworks at her command. The soprano already has major Met credits on her resume and small wonder, for she is a major talent. Watch for her at an opera house near you. You will thank me..."
OPERA TODAY
- James Sohre

“...She is nothing short of sensational, the Russian soprano Lyubov Petrova. As Cleopatra
in Giulio Cesare, she sings incredibly, acts equally superbly and makes a stunning presence whether flirting, making love or lamenting a tragedy. In her debut with the company, Petrova mesmerizes audiences so much they are tempted to give her standing ovations in the middle of this performance of Handel's work...”  
THE POST STANDARD CNY WEEKEND AND STAR
- Joan Vadeboncoeur

“...Lyubov Petrova sang like a goddess as a voluptuous, vivacious Susanna
, offering a ‘Deh vieni’ layered with humor, warmth, sensuality and an ineffably beautiful pianissimo high B-flat...”   
OPERA NEWS
- Joanne Sydney Lessner

“...Lyubov Petrova made an enchanting, Freni-like Susanna
, looking and sounding terrific...”
THE BOSTON MUSICAL INTELLIGENCER
- David Shengold

"...The real star of this production is the Russian Lyubov Petrova, whose large, sweet voice carries well throughout the Music Hall, in itself no small feat. Petrova sings with a warmth that perfectly suits the role of Susanna
, who I always thought should be the very embodiment of the desirable young bride, petite and delicate, yet also shrewd and capable of protecting herself and her abiding interests in Figaro... 
FORT WORTH RENAISSANCE
- Dean Cassella

"...Russian soprano Lyubov Petrova puts her distinctive — and memorable — stamp on the celebrated aria. Petrova, a commanding actress and a singer with seemingly inexhaustible power and blazing technique, impresses throughout the production, but the mad scene — as it should - climaxes her performance. Alternately hushed and explosive, she evocatively conveys Lucia
's hallucinations and fast-shifting moods, without falling into the easy trap of overacting. It is a suitably scary yet poignant portrayal. At the same time, Petrova handles the aria's intricate ornamentation, leaps in register and other notable vocal challenges with flawless accuracy and seeming ease..."
DENVER POST
- Kyle MacMillan

"...Lyubov Petrova made Lucia
a multilayered figure, though intense and febrile from the start.Petrova does nothing false onstage (no lunatic shrieks for this Lucia) and combines welcome, shining tone with expressive phrasing and good musical instincts. Floated high lines were ravishing..."
OPERA NEWS
- David Shengold

“Lyubov Petrova captured the naïveté and purity of Gilda
with eloquent, refined singing...marvelously spun on threads of silken tone, and the soprano was equally compelling when the temperature rose in the subsequent acts...”
OPERA NEWS
 - Tim Smith

"...Soprano Lyubov Petrova's light, delicate coloratura voice was a perfect choice for the role of the teenage Gilda
, Rigoletto's charming daughter whose naivete and selflessness prove to be her undoing. Her marvelously nuanced first act aria, "Caro nome", was girlishly effective, and her ensemble work with Mr. Alvarez was superb..." 
THE WASHINGTON TIMES

"…in part because the Gilda of Russian soprano Lyubov Petrova was so ravishing, in every way, that she bore nearly as much of the dramatic weight as did the title role... Petrova’s instrument was all satin warmth. She had the agility and range for the showy “Caro nome,” but she was even more impressive finding wonderful nuances of phrasing and dynamics in the delicate “Tutte le feste al tempio.” She riveted the attention not with raw power, but with finesse, astonishing accuracy and a pianissimo to die for..."
INCIDENT LIGH
T - Mike Greenberg

"...Lyubov Petrova wears the sequestered ingenue's innocence well, her face sweetly open with trust, her soprano as pure and light as snowfall or the milk-white shawl she clutches to her heart. Listening to her sing "Caro nome" is like reclining into a bed of silk pillows: elegant, smooth, luxurious..." 
THE AUSTIN CHRONICLE
- Robert Faires


 

"...Ms. Petrova... was a vocally scintillating and delightful Zerbinetta..."
THE NEW YORK TIMES - Anthony Tommasini

"…Petrova’s Zerbinetta
had enough sex-appeal in her little finger to fill the entire Dorothy Cha ndler Pavilion, and she goaded her hilarious quartet of lovelorn comic masks — here costumed as garishly accoutered beachgoers — to heights of farcical invention. But in the middle of her great aria, delivered with impeccable control and accuracy, Petrova unexpectedly turned toward Ariadne’s cave as if pleading for understanding. This Zerbinetta’s obsession with different men created as much turmoil within her as the abandonment by Theseus caused Ariadne; she was as vulnerable “onstage” as she had been in the Prologue, so that her kinship with Ariadne was stressed as much as, or even more than was her difference from her…"
OPERA NEWS
- Simon Williams

"...
the beautiful Lyubov Petrova delivered stunning musical cartwheels in both acts. As a less-bawdy-than-usual Zerbinetta, she managed both the fun and the genial philosophizing with operatic zest..."
THE URBAN MAN
- Marc Porter Zasada

"...Ms. Petrova everywhere proved worthy of the title role 
[Lakméon Friday, negotiating even the hair-raising acrobatics of the famous Bell Song with free and open tone..."
THE NEW YORK TIMES
- James R. Oestreich

"...As Lakmé
, she provided the complete package: beauty, bearing, understated emotion, clear and elegant coloratura that never got in the way of a heartfelt portrayal. Her Lakmé was as innocent as her Despina was cunning, and the look she gave Gérald as he returned to see her die mingled surprise, resignation and bliss..."
OPERA NEWS
- Lawrence Toppman

"...No doubt about it, the opening night performance of Lakme
was a personal triumph for Russian soprano Lyubov Petrova in the title role. Every woodland call from the Brahmin princess gurgled like a pure stream. Every pianissimo glistened and floated like pure silk..."
CREATIVE LOAFTING CHARLOTTE
- Perry Tannenbaum

"... a sparkling Glyndebourne performance of Prokofiev's Betrothal in a Monastery, with the ravishing Lyubov Petrova as its star… Vocal honors among the cast go to Lyubov Petrova, who has just the right weight soprano and girlishly sweet timbre for Louisa
. She hits every note dead-on, even during those tricky Prokofiev interval jumps during recitatives; her solid rhythmic sense means that little touches such as the "Tak tak tak" and "da da da" triplets  in the Act III scene at Mendoza's house sound as precisely articulated as a tongued note by a flutist. Petrova gets to sing one of the most ravishing love duets ever written, "Moya mechta" (My dream)  , and it is sung beautifully indeed; the melody's opening upward octave leap perfectly captures the sky-high romantic expectations of a teenage girl…" 
OPERA NEWS
 - Jennifer Melick 

"...Vocally, the performance of the night came from Lyubov Petrova's sparkling Adele
..."
THE GUARDIAN -
Erica Jeal 

"...The vocal star is easily the Adele
of Lyubov Petrova..."
THE SPECTATOR
- Michael Tanner

"...Petrova, who was so impressive last season in her debut as Zerbinetta in "Ariadne auf Naxos," seized the opportunities in presenting Juliet to reveal other dimensions of her artistic range. The soprano's agility served the sensuality in Gounod's opera, while her warmth and coloristic range were enthralling. Juliet was a triumphant role debut for Petrova..
."
PITTSBURGH TRIBUNE -
Mark Kanny