Vocalist - Soprano
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
Meeting the challenge of 'Ariadne'
"As Zerbinetta, Audrey Elizabeth Luna bounces around the stage like a beach ball and sings her long aria with amazing ease."
David Perkins, Boston Globe
'Ariadne auf Naxos' Opera ignites T'wood stage

"A soprano can portray Strauss' Zerbinetta as a dimwit and coquette. At Tanglewood, Audrey Elizabeth Luna is turning her into a three-dimensional woman who becomes the focus of the opera.

"Luna ran through all the high-wire tricks with ease. (It's no accident that she also sings Mozart's Queen of the Night.) She also pranced, mugged, rolled around and -- most importantly -- became Zerbinetta."

Andrew L. Pincus, Berkshire Eagle
When the Trifle Turns Serious, Experience Counts
" ... Audrey Elizabeth Luna, in that soubrette role, very nearly did steal the evening. Her vocal athleticism was of a very different sort ... nimble and daringly acrobatic. She delivered some of her most altitudinous and treacherous coloratura lying flat on her back."
James R. Oestreich, New York Times
"Luna will be a major artist to follow for years to come. She has it all, looks, personality, that magnificent voice, and a dash of theatrical cayenne. Wow."
Richard Strauss, Berkshire Fine Arts
'Rigoletto' proves its timelessness
"Soprano Audrey Elizabeth Luna, as Rigoletto's daughter, Gilda, delivered the best singing. Luna hit all her high notes in her big aria, 'Caro nome,' which launches the opera's doomed love affair."
David Hendricks, San Antonio Express-News
Ligeti's Le Grand Macabre - New York Philharmonic/Gilbert
"Even an understudy, Audrey Elizabeth Luna, made a strong impression singing Venus ..."
Elizabeth Barnette, Classical Source
Syracuse Opera's 'Hansel & Gretel' a real treat
"In the title role[s], Audrey Elizabeth Luna makes a charming, vocally fine Gretel."
Joan Vadeboncoeur, Syracuse Post-Standard
Candide, Toledo Opera, 5/2/09
"His sweetheart, Cunegonde, was sung ably by Audrey Elizabeth Luna, whose 'Glitter and Be Gay' was the tour de force the composer intended it to be, including an optional high F ..."
Alan Montgomery, Opera News
On the Beat
"There was Audrey Luna, who has power and a blazing coloratura facility that most lyric sopranos can only dream of."
Brian Kellow, Opera News
"Most delicious was her signature aria, 'Glitter and Be Gay,' with its high Ebs - plus a high F that Ms. Luna tossed out as if it were one of the fake jewels she dripped.

"More, please, of Ms. Luna, who has the makings of an American Natalie Dessay."

Sally Vallongo, Toledo Blade
El Paso Opera's 'Magic Flute' shines
"Luna unleashed her florid soprano to negotiate the fiendish aria, requiring the voice to reach the highest register in vocal repertoire. She pulled off the bouncing ball notes with an astonishing agility."
Betty Ligon, El Paso Inc.
Music of 'Abduction' outshines production
"Especially pure and clear was soprano Audrey Elizabeth Luna, whose phrasing and breathing made every line a true Mozartian experience. She was a perfect Blonde, not only for her remarkable vocal range (from A flat to a high E) and excellent coloratura, but also for her spirited performance and her natural easiness on stage. We saw her last year in the role of Juliette and I surely hope to see her performing again in Honolulu"
Valeria Wenderoth, Honolulu Star-Bulletin
Audrey Elizabeth Luna's soprano soared.
"Soprano Audrey Elizabeth Luna soared into the stratosphere at lightning speed for florid melodic cantillation -- part of Orff's Middle Eastern touches of exoticism." Read More...
Cecelia Porter, Washington Post
Audrey Elizabeth Luna will make her D.C. debut in "Carmina Burana" with the National Philharmonic Chorale.
"The winner of numerous competitions and awards, Luna is praised for her astounding range and projection. She says she is thrilled to repeat a favorite role that lends itself naturally to her voice." Read More...
Emily Cary, The Examiner (Washington DC)
Superior singing rescues Mozart's magic
"Soprano Audrey Elizabeth Luna was a glamorously wicked Queen of the Night. She sang her two famous arias impressively ..."
Ken Winters, Toronto Globe and Mail
'die Zauberflöte', - magical!
"The unlikable Queen is more than adequately performed by soprano Audrey Elizabeth Luna. Her voice has a bell-like clarity with nary a syllable slurred."
Danny Gaisin, Ontario Arts Review
"Right away we ... hear the incredible voice of soprano Luna. As soon as Juliette gets on stage she sings a difficult coloratura aria, and nothing seems to stop her. Her grace and determination, combined with terrific vocal skills make her the perfect Juliette. Her voice was radiant. [She and Roméo] work together in ideal harmony in four duets. Vocally, their textures, color and strength match without flaw. On stage, their chemistry is one of a kind. Especially moving is their fourth-act duet.... " [ROMÉO ET JULIETTE - Hawaii Opera Theatre]
Valeria Wenderoth, Honolulu Star-Bulletin
"Juliet, sung by Audrey Elizabeth Luna, a lithe powerhouse of a lyric soprano.... Her Act IV aria was dynamite." [ROMÉO ET JULIETTE - Hawaii Opera Theatre]
Ruth O. Bingham, Honolulu Advertiser
Audrey Elizabeth Luna stars as Juliet opposite George Dyer's Romeo.
"Although she has an affinity for 20th-century composers, Luna is comfortable in the rococo classical world of high drama and sweeping arias. She prepared for Juliet by seeing 'every movie ever made on the subject. She's a 16-year-old girl, coming out for the first time, a bit light-hearted. Even though the part is often cast on looks, you've got to bring the power to the role, as it changes from light to dark at the end.'" Read More...
Burl Burlingame, Honolulu Star-Bulletin
"Soprano Audrey Elizabeth Luna did a fine job with the difficult Queen of the Night role. She delivered the famous and complicated Act II aria with a rush of energy and a gorgeous vocal quality." [DIE ZAUBERFLÖTE - Pittsburgh Opera]
Andrew Druckenbrod, Pittsburgh Post-Gazette
"Erisbe needs to be a charismatic presence and Audrey Elizabeth Luna brought plenty of dramatic flair to her singing and stage presence." [Cavalli's ORMINDO - Pittsburgh Opera]
Mark Kanny, Pittsburgh Tribune-Review
"Soprano Audrey Elizabeth Luna as Dalinda was the evening's vocal standout, with her pealing high notes and nimble coloratura." [Handel's ARIODANTE - Cincinnati Conservatory of Music]
Mary Ellen Hutton, Cincinnati Post
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