Critical Acclaim - Critical Acclaim page 2

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Critical Acclaim
Critical Acclaim page 2
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"...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…"
- 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..."
- 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..."
- 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..."
- 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..."
- 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…" 
 - Jennifer Melick 

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

"...The vocal star is easily the Adele
of Lyubov Petrova..."
- 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..
Mark Kanny