OTTONE IN VILLA, Antonio Vivaldi
Barbican- London, 22 May 2010
“Regular collaborator Sonia Prina returned as the gullible Ottone, bringing
her trademark punchy richness to his consistly low register, and enjoying some rare moments of comedy”.
Theaterdesk.com
“The glorious Sonia Prina deserved a punchier character than Emperor Ottone,
a gullible twit moonstruck over the flirtatious Cleonilla”
The Times
ORLANDO FURIOSO, Antonio Vivaldi
Oper Frankfurt, February 2010
“Das gelingt anderen besser, allen voran Sonia Prina, als furiosem Orlando. Sie meistert die kolossalen Schwierigkeiten der Partie bravouroeus.”
Magazin Klassik.com
“Zum Publikumsliebling gedieh Mezzosopranistin Sonia Prina, ein wie im Rausch die Koloraturen stanzender Italo-Rocker”.
Offenbach Post
,,Eine Ausnahmebegabung ist Sonia Prina in der Titelpartie. Im tiefen Register besitzt die Altistin eine ungemein sonore Intensitaet und damit Effekte, die die Zustaende Orlando’s greifbar machen. Ihre erste, atemberaubende Glanznummer (die allein genommen schon den Besuch der Auffuehrung gelohnt haette), war ein aehnlicher Hoehepunkt des Premiereabend”.
Echo – Darmstadt.
“Der des Abends aber war die Altistin Sonia Prina in der Titelpartie. Sie verkoerperte den rasenden Roland, ob im coolen-Outfit oder im pinkfarbenen Rueschenkleid, mit ueberragender stimmlicher und mimischen Brillianz-un-uebertroffen in ihrer souveraenen Komik”.
Frankfurter Neue Presse
PERGOLESI programma, Robeco zomerconcerten.
Concertgebouw – Amsterdam, 6 augustus 2009
“De meesten kwamen ongetwijfeld af op Pergolesi’s “Stabat Mater”. Zij werden op hun wenken bediend met een memorabele uitvoering, vooral dankzij alt Sonia Prina.”. …”Maar hun combinatie (met sopraan Roberta Invernizzi) pakte
wonderlijk goed uit. Het contrast tussen de twee stemmen en karakters leverde een ongehoord spannende en dramatische uitvoering op. Niet vaak eerder klonk bijvoorbeeld het vijfde deel,
“Quis est homo”, met zulke uitersten van engelachtigheid en demonie.
In hun solodelen maakten de zangeressen ook apart indruk…..Prina met Eia mater fons amoris”, waarin expressie superieur was aan klankschoonheid. …
Maar het ovationele applaus na afloop was bedoeld voor het duo als duo”.
NRC Handelsblad, 8/9 augustus 2009
ARIANNA IN CRETA, G.F.Haendel
Dome – Brighton May 2009
,,Even better is Sonia Prina, who brings such gravitas to her sacrificial virgin Carilda, that one wonders why it is Ariadne and not she who has the title role”.
Guardian
Barbican – London, May 2009
‘’I found myself impressed with Sonia Prina”.
Early Music Review – Andrew Benson- Wilson
LA RESURREZIONE , G.F.Haendel
Barbican – London, April 2009
“..while the great Sonia Prina was vocally spectacular and immensely moving as Mary Cleophas”.
Guardian
“…and Royal’s warm timbre contrasted nicely with the harder metal of Sonia Prina’s contralto – not hard enough though – to be always comfortable down in her music’s lowest depths.”
The Times
“Sonia Prina, elle aussi souvent appreciee, ne force pas son emission et est comme a son habitude tres expressive”.
Chanteur.Net
PARTENOPE , Vinci
Ferrara, Februar 2009
“Sonia Prina towered as the relentless powerhouse as she usually is on stage, sparking a regular ovation in de defiant aria “Lo suguo sol fiero”, with obligato horns and oboes”.
Opera Today
XERXES , G.F. Haendel
Houston Grand Opera, May 2010
,, In contrast, most of the indignant Amastris arias have her raging at her
mistreatment and Sonia Prina’s vocally feisty, emotionally direct performance
punched these across with volcanic fury”.
Houston Chronicle
,, In her HGO debut was contralto Sonia Prina as Amastre. Ms. Prina sang with
absolutely perfect coloratura and a warm contralto voice”.
Examiner
“Sonia Prina’s rich warm voice was appropriate for Amastre, and was a nice respite from all the high voices”.
The Opera Tattler
“Sonia Prina has a slight hard edge to her voice, and this brought an exiting and effective contrast to Amastre. She tumbled exitingly through her virtuoso arias with athletic singing and she convinced as Xerxes spurned lover, never sugarcoating her lyrical moments, but singing them with latent bitterness.”
Concerto.Net
“The surprise was Italian contralto Sonia Prina, making her Houston Grand Opera debut as Amastre. As she struggles for recognition from Xerxes through the three acts, her arias become more and more florid, and this is a voice of brilliant power and nuance. I hope she will be back.”
Culturemap.com – Houston
“….and of Sonia Prina, who brought high sprited acting and her astonishing contralto virtuosity to the role of Amastris”.