Vocalist - Soprano
Acclaim
 
Flight Soars High in Des Moines

"Audrey Luna was a commanding presence as the Controller, who oversees and reports events. Ms. Luna has a crystal clear, pliant soprano that has to be among the purist and most finely spun in the business. From the stratospheric top notes to a gleaming middle voice to a secure bottom range, this prodigiously gifted singer imbued every phrase with ravishing vocalizing. Her fine sense of legato caressed the numerous melismatic passages in the role, but when it came time for spitfire commentary, she hurled out bolts of sound penetrating well into the wild blue yonder."

James Sohre, Opera Today
Cleveland Orchestra enjoys good fortune with Orff's 'Carmina Burana'

"On her Cleveland Orchestra debut, [Audrey Luna] was flat-out magnificent (and perfectly audible), wielding a glorious high range and lacing her solos with rare, poignant doses of warmth and vulnerability."

Zachary Lewis, Cleveland.com
Daughter of the Regiment - Hawaii Opera Theatre

"As the foundling Marie, raised by a French platoon, Luna gave the book scenes a conversational simplicity, effecting smooth segues into the artless sentiment of the musical numbers. Effervescent as the mascot of the troops (“Chacun le sait, chacun le dit”) or dejected at parting (“Il faut partir”), she sustained an air of childlike candor even in lacy flights of coloratura, punctuated with sparkling trills. Throughout her range, Luna’s timbre was round and golden, clear up to a high G natural. And she projected with ease at every dynamic, most remarkably in the first-act finale, floating pianissimi that gleamed like starlight over the mezzo forte of the full ensemble."

Matthew Gurewitsch, Opera News
Don Pasquale - Fort Worth Opera

"Audrey Luna's finely focused soprano endowed Norina with vocal virtuosity and expressive suavity."

Scott Cantrell, Dallas News
Don Pasquale - Fort Worth Opera

"Soprano Audrey Luna, meanwhile, blazed and bounded through the role of Norina...Luna first appears in a bubble bath (with cameras rolling), delivering the trills, high notes, and other vocal acrobatics of “So anch’io la virtù magica” with impressive skill and ease..."

Wayne Lee Gay, Texas Classical Review
‘The Exterminating Angel’ dazzles in PBS broadcast

"There is soprano Audrey Luna as the prima donna, whose stratospheric high notes are both an expression of her star power and a token of her inability to blend in with the others."

Joshua Kosman, The San Francisco Chronicle
Lyric Vocals Wow in HOT's "Daughter"

“Luna presented a vivacious Marie — lighthearted, carefree and unconstrained by vocal norms. She appears in almost every scene, impressing with everything from tender ballads to stratospheric displays.”

Ruth Bingham, Honolulu Star Advertiser
The Exterminating Angel – Royal Opera House, Covent Garden

"Soprano Audrey Luna (also an exponent of Ariel in Adès’s The Tempest), who sang seemingly ever higher and higher as opera singer Leticia in a performance of tireless coloratura freneticism."

George Hall, Opera News
Thomas Adès’s dazzling opera boasts an amazing cast

“Leticia (Audrey Luna), whose stratospheric range seems to guy the whole starry business of sopranos, though her disembodied aria near the end proves the key to the characters’ (provisional) deliverance.”

Paul Driver, Times UK
Thomas Adès’s The Exterminating Angel by the Royal Opera

"Audrey Luna as the diva Leticia rises to a fiendishly difficult coloratura aria in the third act."

Claire Colvin, Express UK
The Exterminating Angel; Doctor Atomic review – incendiary Adès and Adams

"The coloratura soprano Audrey Luna as the 'opera singer' Lucia showed no signs of strain. She sang Ariel in Adès’s The Tempest and makes this stratospheric singing sound effortless, tiny high notes exploding like puffs of glitter."

Fiona Maddocks, The Guardian
The Exterminating Angel, Royal Opera House, London

"The production (Adès conducting) boasts an array of top-flight singers... with virtuoso American soprano Audrey Luna glittering up in her other-worldly stratosphere."

Cara Chanteau, Independent UK
The Exterminating Angel, Royal Opera House, London

"Audrey Luna’s high notes were ridiculously super-human ..."

Melinda Hughes, Spear's WMS
Thomas Ades’ The Exterminating Angel at Royal Opera House, London

"Audrey Luna’s extraordinary facility in her top register helps make opera singer Leticia extraordinarily memorable."

George Hall, The Stage UK
The Exterminating Angel

"... Amanda Echalaz is a luscious-toned hostess, Lucia Marquesa de Nobile, and if Charles Workman, as her husband, scales the tenorial heights with aplomb, then Audrey Luna tops him, literally and figuratively, as Leticia Maynar - the opera singer whose performance in Lucia di Lammermoor ostensibly prompts the original gathering. Luna’s stratospheric peels are as ‘unreal’ as the ondes martenot’s eerie howl and perhaps it is no coincidence that Leticia, the so-called ‘Valkyrie’, who does not share the aristocratic pretensions of the other diners, is aligned with the otherness of the exterminating angel; for it is Leticia who first recognises their entrapment and it is she, at the close, who, with her strange quasi-medieval chanson, enables their ‘release.'"

Claire Seymour, Opera Today
A dining-room apocalypse in the nihilistic new opera from composer Thomas Adès

"There's some above-the-stave virtuosity from Audrey Luna as a high-flying, high-lying opera singer.”

Mark Valencia, What’s on Stage
Adès brings 'The Exterminating Angel' to opera

"As the opera singer Leticia (nicknamed “the Valkyrie”), Audrey Luna carried the lion’s share of the high register pyrotechnics...."

Par David Karlin, Bachtrack
A Breathtaking Premiere of 'The Exterminating Angel'

“The stratospheric acrobatics of Leticia Maynar’s part (more than ably taken by American soprano Audrey Luna, a part she created in the Salzburg premiere last year) seem to reflect Adès predilection for instrumental extremes.”

Colin Clarke, Seen and Heard International
Of race and opera: 'Nixon in China' provokes a debate on stereotypes

"Audrey Luna radiated menace and set off soprano fireworks."

Scott Cantrell, Dallas News
Le Grand Macabre - London Symphony Orchestra

"Audrey Luna’s crazed Gepopo soared easily into Ligeti’s musical stratosphere ..."

Alexandra Coghlan, Independent UK
Le Grand Macabre - London Symphony Orchestra

"Audrey Luna was able to power the sweetness of Venus to the pyrotechnics of Gepopo with astounding ease."

Yannick Boussaert, Forum Opera
Le Grand Macabre, LSO, Rattle, Barbican

"The brilliant coloratura Audrey Luna goes to the edge with the horror."

David Nice, Arts Desk
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, New Yorker
'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, Musical America
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, Spectator (UK)
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, Arts Desk
A turning point for Adès, and opera

"Audrey Luna as Leticia ... sang her fiendish high coloratura dazzlingly."

Fiona Maddocks, Guardian
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, Bachtrack
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