Vocalist - Soprano
Opera review: 'The Tempest' at the Metropolitan Opera
“Oregon soprano Audrey Luna commands as Prospero’s airy, sometimes scary, fairy Ariel — for a couple of reasons. Thanks to Kym Barrett’s glittery getup, she looks like a cross between a Sin City Tinkerbell and Gollum from ‘Lord of the Rings.’ In addition, Adès’ punishing score pitches her notes up to space-jumper territory. … This is an exotic, unforgettable Ariel.”
Joe Dziemianowicz, New York Daily News
The Realm of Magic at Its Imaginative Best
“Ariel [is] the astonishing Audrey Luna, whose stratospherically high tessitura places her firmly in the spirit world. … Ariel, trembling and twitching like a hummingbird (Ms. Luna's physical agility matched her vocal acrobatic skills), torments the courtiers from her perch on a lighting bridge and, in her Act III harpy guise, shrieks imprecations from a chandelier. … This is the Met at its adventurous best.”
Heidi Waleson, Wall Street Journal
`Tempest' at Met: The magic's in the music
“Ades has made the role of the spirit Ariel a tour de force for coloratura soprano, giving her a vocal line that hovers much of the time well above high C. … As Ariel, Audrey Luna not only sings all those high D’s, E’s and F’s with aplomb, she also bravely entrusts herself to various harnesses, wires and acrobats to keep her from falling as she repeatedly defies gravity. …The Met season is only a month old, but it's safe to say “The Tempest” will be remembered as one of its musical highlights.”
Mike Silverman, Associated Press
The Tempest
“The Met could not have improved upon its cast. …The vocal standout of the evening is soprano Audrey Luna as Ariel, whose entire role is written in such a stratospheric range that one might assume only dogs could hear it. Not only does Luna nail every note, she presents such a quivery, highly stylized physical characterization that she seems, appropriately, not of this earth.”
Eric Myers, Variety
Review: The Met's Tempest Blows Hot and Cold
“The stratospheric soprano role of Ariel sounds like nothing else in opera, with vocal lines that feel buffeted by changeable island winds – and amazing sung by Audrey Luna.”
David Patrick Stearns, WQXR
Memories of a summer storm in Quebec
"The real star of this show is however Audrey Luna. She plays the role of Ariel, the spirit under the power of Prospero. This young soprano sings a partition of great technical difficulty - little melody and a lot of high notes - in acrobatic positions of all kinds. She finds herself perched on a chandelier, a scaffold or a suspended ring, head up, head down. Anyway, she delivers a performance combining singing, dancing, acrobatics and traction: a rare combination among opera singers. Congratulations to this talented young performer!"
Sophie Roy, Quebec Info Musique
The Tempest
“Audrey Luna as Ariel proved a stunning acrobat in all senses.”
Arthur Kaptainis, Montreal Gazette
The storm: a splendid success
“Soprano Audrey Luna is impressive, delivering a very physical Ariel, who performs acrobatics even [while] singing.”
Eric Moreault, Le Soleil
World premiere of the opera The Tempest

“Soprano Audrey Luna is impressive, delivering a very physical Ariel, who performs stunts while singing.”

Shirley Christmas, Info-culture.biz
National Philharmonic's intriguing 'Martyrdom of St. Sebastian
"Ms. Luna's sweet, much lighter, more ethereal voice added just the right otherworldly, almost childlike ambience to St. Sebastian's ‘heavenly' vocal moments."
Terry Ponick, Washington Times
Music of Debussy at Strathmore
"Soprano Audrey Luna was a celestial presence, floating the high notes of the Virgin Mary's aria in the second part and as the soul of Saint Sebastian singing from heaven."
Charles T. Downey, Washington Post
Trifling with Die Zauberflöte
"Audrey Luna [Queen of the Night], who sang in the performance I attended, would have shocked the pants off the composer with her dazzling accuracy of rhythm and intonation. Such secure virtuosity in the face of outrageous difficulty is rare indeed. Like other Americans, Audrey Luna has a faultless technique, but also a thrilling dramatic involvement in her delivery of the role."
Jack Buckley, Seen and Heard International
Photographed in Chicago by Brian Kuhlmann; Makeup and hair by Karen Lynn Accattato Gown by Ralph Lauren; shoes by Stuart Weitzman.
"Few Queens of the Night have resumés dotted with works by George Crumb, György Kurtág and Chen Yi. Next season, Luna will sing Ariel in The Tempest when it comes to the Met." Read More...
BRIAN KELLOW Brian Kellow, Opera News
'Nixon in China' Opening Night: Kansas City, MO
"But soprano Audrey Luna as the feisty, true believer Madame Mao was most remarkable; she nearly embodied the Cultural Revolution."
William Carl Ferleman, PopMatters
Opera in the age of the sound bite
"Luna channeled bat-shit-crazy mania and authoritarian zealotry as she stalked across the stage watching her disturbing ballet-opera, ‘The Red Detachment of Women.' Her introductory aria, ‘I am the wife of Mao Tse-Tung,' is a coloratura's demonic showboat. Wailing away in the extreme upper registers and extolling the virtues of the Cultural Revolution, Luna's pitch-perfect and perfectly manic performance ended with her triumphantly standing atop a pile of executed Chinese."
Lee Hartman, KC Metropolis
Epic meets intimate: Lyric Opera's 'Nixon' is a stunner
"But this show really belongs to the ladies.... Audrey Luna brings her crystalline soprano to the searing role of Madame Mao - a merciless revolutionary who makes your blood run cold."
Robert Trussell, Kansas City Star
Mozart's Die Zauberflöte at Lyric Opera of Chicago
"The entrance of the Queen of the Night and her first bravura aria provided Ms. Luna with opportunities to show her vocal facility [‘O zittre nicht, mein lieber Sohn' (‘O do not tremble, my dear son!')]. Luna's dramatic high notes on ‘Ach helft!' [‘Oh help!'] were especially effective, these being followed by practiced runs in the famous coloratura passages."
Salvatore Calomino, Opera Today
The Magic Flute - Lyric Opera
"With an enormous, over-the-top twinkling headdress and giant Cleopatra eyes, Audrey Luna's Queen has the visual impact of a Cher Las Vegas revue and the voice of a Mozart diva. Her almost effortless delivery of the composer's signature coloratura showpieces is breathtaking."
Lori Dana, Chicago Stage Review
Rigoletto (6/16/11), Die Zauberflöte (7/27/11)
"Audrey Luna strode through the Queen's sky-rocketing music with ease."
Charles H. Parsons, Opera News
"Singing in one of the most important houses in the country was a dream come true, and something I am able to check off my bucket list." Read More...
Janelle Gelfand, Cincinnati Enquirer
Cincinnati Opera's 'Magic Flute' plays sweetly
"A strong cast, many making debuts, added to the success. Audrey Luna...brought down the house in her Cincinnati debut as Queen of the Night. She brilliantly attacked the coloratura fireworks of her Act I aria. She was an imposing presence, holding a knife to Pamina's throat and impressively nailing the pyrotechnics - including high 'f's - in her Revenge Aria."
Janelle Gelfand, Cincinnati Enquirer
New Magic in a Mozart Favorite
"The other big standout was American soprano Audrey Luna as the Queen of the Night, delivering her big aria with note-perfect, high-flying intensity."
William Furtwangler, Charleston Today
New magic strikes Spoleto's 'Flute'
"As the 'star-blazing' Queen of the Night, to borrow a character's description of the story's fount of meanness, Audrey Luna was a vocal fireball. She hurled out high notes that hit home like the dagger she once threw to the stage - which stabbed so hard that it remained standing on its point."
Steven Brown, Charlotte Observer
Acoustics Impart Warmth to "The Barber Of Seville"
"Soprano Audrey Luna dazzled as Rosina. Her precise, coloratura articulation enhanced her character's allure: a strong-willed woman disguised as a demure beauty."
Christopher Blank, Go Memphis
Mad for 'Lucia': Opera Naples performance its best ever
"Luna ... turned Lucia from a mournfully tragic character to a spunky, yet loosely wound, mistress of the castle and sang its famous mad scene -- and all the others -- in amazingly supple runs and sparkling voice. Luna, who has used her stratospheric abilities frequently in the famous 'Queen of the Night' character from 'Magic Flute,' performed her new role as if she owned it. Now she does."
Harriet Howard Heithaus, Naples Daily News
The Best of 2010 Classical Music
"'Rigoletto': The year's biggest opera event was the June staging of Giuseppe Verdi's 1851 masterpiece, 'Rigoletto,' by the San Antonio Opera at Municipal Auditorium. Wonderful singing from a cast led by soprano Audrey Elizabeth Luna as Rigoletto's daughter, Gilda, inspired equally excellent playing from the San Antonio Opera Orchestra in the auditorium's pit."
David Hendricks, San Antonio Express-News
"Luna is a soprano who can sing the ultra high notes like those that are required of the Queen of the Night in Mozart's Magic Flute. She recently completed a Queen of the Night gig with Santa Fe Opera and will be making her debut in this role at the Met this season." Read More...
James Bash, Oregon Music News
Ariadne auf Bali Ha'i in Tanglewood Fellows' Marvelous Strauss Pacific
"To Zerbinetta (Audrey Elizabeth Luna), however, fell the most challenging role. She distinguished herself equally with vocal virtuosity, physicality, and comic acting."
Eli Newberger, Boston Musical Intelligencer
Love Potion Opus 60: Strauss's Ariadne auf Naxos at Tanglewood, August 2, 2010
"Audrey Elizabeth Luna delivered this coloratura role - one of the most difficult in the literature - with extraordinary panache and a breathtaking technique. Ms. Luna, a petite and attractive performer, captures all of what Zerbinetta is: a woman of the moment, a lover and user of men, a flirt who loves life and cares little for commitment or devotion; her vocal acrobatics in every way persuade us that, in Strauss's erotic imagination, Zerbinetta must be a sexual acrobat as well. Ms. Luna tackled the pyrotechnic Recitativ und Arie, 'Großmächtige Prinzessin. . .So war es mit Pagliazzo,' with sexy ease and vocal precision. It was a delight to bear witness, one might say, to this Luna as a dazzling vocal meteor shower."
Seth Lachterman, Berkshire Review for the Arts
At Tanglewood, the Kids Are Alright
"Luna made a simply delectable Zerbinetta, and one (miracle of miracles!) absolutely at home both onstage and in the coloratura excesses of the character's display aria. How she could sing with such accuracy while cavorting about to such witty point made the role more than just a series of high notes and roulades."
Patrick J. Smith, Musical America
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