An Explosive Opera of 'The Exterminating Angel'
"The most heroic performance was delivered by the coloratura soprano Audrey Luna, as Leticia. Her gleaming, yearning tone in the climactic aria provided a short-lived epiphany before darkness closed in again."
— Alex Ross,
'Exterminating Angel,' the most important opera of the year, proves it's here to stay
"Audrey Luna is the stratospheric diva."
— Mark Swed,
Los Angeles Times
The Exterminating Angels - Salzburger Festspiele
"Audrey Luna bravely undertook another Adès role (the first was Ariel in The Tempest) lying in the vocal stratosphere."
— George Loomis,
Thomas Adès bottles it in his new opera
"A Valkyrie-like final aria, egged on by an orchestra turned primal and Brucknerian, sung by the amazing Audrey Luna...."
— Igor Toronyi-Lalic,
The Exterminating Angel - Salzburg Festival
"Ades gives Audrey Luna more of the insane stratospheric writing of Ariel in The Tempest - Luna sang the role at the Met - and lets her lead the final Chaconne to a tentative freedom."
— David Nice,
A turning point for Adès, and opera
"Audrey Luna as Leticia ... sang her fiendish high coloratura dazzlingly."
— Fiona Maddocks,
In This Opera, You Can Depart, but You Can Never Leave
"Leticia, a famous prima donna fresh from the 'Lucia' performance, was here the high-coloratura soprano Audrey Luna. Mr. Adès takes Ms. Luna to stratospheric vocal lines ... Ms. Luna’s uncanny agility captures Leticia’s larger-than-life quality."
— Anthony Tommasini,
New York Times
A new cast impresses in the Metropolitan Opera's Tales of Hoffmann
“Audrey Luna was an extraordinary Olympia, all pink satin and pink hair and stratospheric high notes with silvery technical mastery. Was that an A-flat above high F – or several of them – in the second stanza of ‘Les oiseaux dans la charmille’?”
— David Browning,
Met Opera: 'Hoffmann' Redux Via Levine and Polenzani
“The soprano Audrey Luna admirably tosses off the run of high notes in ‘Les oiseaux dans la charmille’ as the wind-up doll Olympia.”
— Wilborn Hampton,
‘Les Contes d’Hoffmann’ - Metropolitan Opera
“Audrey Luna stands out for a dazzling turn as Olympia.”
— Zachary Woolfe,
New York Times
‘Les Contes d’Hoffmann’ at the Metropolitan Opera
“The brilliant coloratura soprano Audrey Luna is sensational as Olympia, deftly dispatching passagework and tossing off jet-propulsion high notes.”
— Anthony Tommasini,
New York Times
Drunken ramblings: Calixto Bieito's Tales of Hoffmann gets its first revival in Oslo
“The singing ranged from fine to truly excellent, with spellbinding performances from Evan Bowers’ Hoffmann, Audrey Luna’s Olympia.... [Her] performance of the Doll Song ‘Les oiseaux dans la charmille’ was nothing short of breathtaking. She showed astounding control of her high register, interpolating several high As and B flats.”
— Aksel Tollåli,
The fireworks and the finer points of 'Nixon in China'
“Vocally, the evening’s star turns are the fearless coloratura of US soprano Audrey Luna as a feisty Jiang Qing; and, for sheer character, the trio of Mao’s secretaries.”
— Michael Dervan,
Nixon in China lands in Dublin for triumphant Irish première
“In terms of visceral impact, Audrey Luna’s Chiang Ch’ing (Madame Mao) is the vocal performance of the evening. She negotiates Adams’ at times cruelly vaulting intervals with insouciance, pings her high notes fearlessly, and generally creates an appropriately unsettling impression of barely trammelled sadism and psychosis.”
— Terry Blain,
Nixon in China, Bord Gais Energy Theatre
“Audrey Luna’s coloratura as Madame Mao Chiang Ch’ing, has piercing accuracy as she waves aloft Mao’s Red Book of ideologies.”
— Pat O'Kelly,
'Arabella' Revived at the Met
“Audrey Luna was charming as the flirtatious Fiakermilli, who crowns Arabella as the queen of the ball in Act II.”
— Barry Bassis,
Virginia Opera's 'Ariadne' spoofs high art in style
“As Ariadne’s low-class musical nemesis, Zerbinetta, puckish soprano Audrey Luna, attired as a post-punk princess, takes a decidedly low-art approach to the whole mess and, as leader of her troupe, decides to rescue the doomed maiden from her inevitable tragic death in spite of the script. Ms. Luna plays the low-art meme to the hilt, supporting it with a rich, plummy voice that underlines her authority.”
— Terry Ponick,
Communities Digital News
Virginia Opera presents 'Ariadne auf Naxos'
“Zerbinetta (soprano Audrey Luna) [was] the leader of the spiky-haired and tattooed comedy troupe. The performances were well-paced, physical, funny and finely sung.”
— Gene Harris,
Virginia Opera's 'Ariadne auf Naxos'
“The other standout was Audrey Luna as Zerbinetta; the coloratura was impressive … and she truly made a meal of her role.”
— Robert Battey,
Voices rise to occasion in fine Strauss staging
“Singing with equally fine effect, soprano Audrey Luna made the most of the comical Zerbinetta without neglecting her serious moments. Her long solo scene, which kept her almost as busy physically as vocally, was a triumph.”
— Lee Teply,
“Audrey Luna’s Queen of the Night had the expected agility for the role, along with a sound that gained in strength and fullness the higher she sang.... The staccato high Cs of her iconic vengeance aria generated excitement, and all four high Fs were right on the mark.”
— Robert Croan,
"The soprano part of Ariel, brilliantly sung by Audrey Luna at the Met, is a coloratura tightrope walk so daunting it makes Mozart’s Queen of the Night aria seem like child’s play."
— Vivien Schweitzer,
New York Times
Rewarding taste of 'Tempest'
“Any consideration of ‘The Tempest’ begins with Adès’ treatment of the role of Ariel - not necessarily because it’s central to the opera but because the premise is so brazen. Adès casts Shakespeare’s airy sprite for a soprano singing at stratospheric heights - this is a role that makes the Queen of the Night sound positively baritonal by contrast. It’s a daring challenge for both the composer and the singer, who between them have to turn long sequences of potential squeaks and shrieks into music of unearthly beauty. And not least among the delights of Thursday’s concert was the joint success on that point by Adès and soprano Audrey Luna, in a splendid Symphony debut. … Even more striking is the setting of ‘Full fathom five’ (‘Five fathoms deep’ in Oakes’ version), which is surely the most purely lyrical music ever composed for a soprano singing well above the staff. Luna’s performance was a tour de force of precision and grace.”
— Joshua Kosman,
San Francisco Chronicle
“Audrey Luna delivers full and complete satisfaction, not only on the stratospheric plane – indisputable since her performance as Ariel in Thomas Adès’s The Tempest in Quebec and at the Met – but especially in the vocal line, with sensuous inflections.... Audrey Luna is the only one who has put flesh on this production.”
— Christophe Huss,
Luna, Tessier and Bilgili in Stylishly Sung "Lakme"
“Rising Star Audrey Luna, who starred in the Metropolitan Opera’s production of Ades’ ‘The Tempest’ and who performed the Queen of the Night in the Santa Fe Opera’s 2010 production of Mozart’s ‘The Magic Flute’ proved to be a sensation in the title role. As required of a great Lakme, she showed mastery of the coloratura fireworks of the Air des Clochettes (Bell Song), and, for this role that is largely comprised of sustained legato singing, she sang expressively and affectingly, displaying both power and pianissimo.”
— Opera Warhorses
Delibes' Lakmé opens new season at L'Opéra de Montréal
“Vocally, the star of the evening was the young American coloratura soprano Audrey Luna, who was making her company debut. Equal to every technical demand made of her, she possesses impressive vocal agility and extension, a silvery timbre and considerable power (especially at the top of her voice), … is physically alluring and performs with intriguing musicality (most notably her innovative and winning phrasing in the famous ‘Flower duet’ …). Though the celebrated ‘Bell Song’ was well delivered, Luna’s best singing came in the third-act ‘Berceuse’ and the aria ‘Tu m’as donné’.”
— Richard Turp,
“[A spectacular performance] from Audrey Luna in the title role. This American hyper-coloratura, noted for her acrobatics in dog-whistle territory as Ariel in Thomas Adès’s The Tempest, sang the Bell Song not only with thorough security but a sweet, beguiling tone. She was also a good actress.”
— Arthur Kaptainis,
La Bohème (4/20/13), The Daughter of the Regiment (5/5/13), Ariadne auf Naxos (5/4/13), Glory Denied (4/21/13)
“Best of all, Audrey Luna turned Zerbinetta into a full-blooded character with soubrette allure, athleticism and worldly wisdom. Luna executed her difficult vocal turns effortlessly. Her vocal fireworks proved the perfect fizzy antidote to the Romantic lushness of Ariadne’s swooning love music.”
— Willard Spiegelman,
At Strathmore, National Philharmonic's Lutoslawski benefits from lacking Orff
“Audrey Luna brought innocence and flute-like clarity to the amorous sighs of the soprano solos in ‘The Court of Love.’”
— Charles T. Downey,
Die Zauberflöte - SALT LAKE CITY - Utah Opera
“Audrey Luna, singing the Queen of the Night, had no trouble establishing her character’s bluster, popping out ‘Der Hölle Rache’s high Fs with laser precision.”
— Robert Coleman,