"…Radvanovsky’s Medea is no snipe. She is a roaring force from the underworld, existing vocally, as Medea must, at the intersection of pain, pleading and panic at the strength and thus the potential consequences of her own emotions. For one who feels such agony at betrayal must feel the dangerous power of love herself.

What a performance from Radvanovsky!

At times, one swears one hears {…}

"Radvanovsky gave us a singing lesson today. The voice has such apparently limitless resonance. It fills the auditorium, surrounding the spectator in a golden glow. It soars with such ease, just as it did in her opening Act 2 aria, where the ascent to the high C rang out, the breath control immaculate. Radvanovsky’s ‘morrò, ma prima in grazia’ was also sung in seemingly endless phrases, {…}

Radvanovsky’s first entrance, walking down the back stairs to refuse the pardon of the Prince of Persia, was breath-taking for the violence, the strength, and the anger that the soprano managed to imprint in her movements. Turandot’s big moment is her entrance aria in the second act, “In questa reggia.” It is a difficult piece. The tessitura demands both a strong low and high register, {…}

"Radvanovsky was extraordinary. Like Maria Callas, perhaps the 20th century’s defining Tosca, she uses the slightly grainy quality of her sound to exciting dramatic purpose. Her account of the great aria “Vissi d’arte” was at once intensely anguished and surpassingly beautiful. The ovation went on so long it seemed Radvanovsky might be forced to break character and acknowledge it. But not {…}

"As for the dark psychological journey of Radvanovsky’s ambitious Lady Macbeth — alive with an almost sexual thrill in her relish of glory and power in “Vieni t’affretta,” and even more compelling as she falls relentlessly into madness — the grotesque nature of her dreadful circumstance is tragically apparent in the arc and color of each phrase. This was a performance by an artist in {…}

"Sondra Radvanovsky did not play Tosca. Radvanovsky is Tosca. From the moment the soprano entered the church of Sant’Andrea della Valle and until she jumped from the battlements of castle Sant’Angelo, the audience could only see a powerful woman consumed by jealousy and love, a victim of blackmail and sexual harassment, killing in cold blood, dreaming about a new life with her lover, and {…}

"This latest triumph – following a Met Stars in Concert appearance (review) and Bellini’s Il pirata (review) – continues to find Radvanovsky possibly singing better now than at any time in her career. This is a role she might not get to sing again apart from in a production like this or a concert. So while you can, glory in what a human voice can do and listen to her first act ‘Ritorna {…}

"Radvanovsky and Jovanovich powerfully, wrenchingly, give voice to their characters"

Chicago Reader

"Jovanovich’s Gherman was answered in kind by Radvanovsky’s Lisa, who somehow conveyed tremendous tonal bloom via colors steeped in darkness and sorrow. Her top voice, meanwhile, thrillingly captured the ardors involved."

Chicago Tribune

"[Jovanovich] was ideally matched by {…}