ITÄ-SAVO - Savonlinna Opera Festival in Finland - July 3, 2010
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Eisenacher Allgemeine - Verdi und Donizetti - June 8, 2010
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Neue Ruhr Zeitung - Open Air "Ein perfekter Abend" - May 25, 2010
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COSAS-Magazin – Portrait Norma – Lima April 2010
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El Comercio - Norma in Lima - March 30, 2010
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Hamburg, Laeizhalle - Gala Concert - March 19, 2009

www.welt.de

www.abendblatt.de

Goose-skin! The sicilian Diva beats the high expectations. Great
acclaim. Aliberti impresses with the beauty of her voice, the phrasing
and the creation of the charakters. Coloraturas even in the highest
regions are precise and well placed.
(Hamburger Abendblatt, 21.3.09)

Enthusiatic acclamations, standing ovations! Queen of Belcanto."
(Die Welt, 21.3.09)

Admiration of a Primadonna. Pure happiness and gold, this timbre and the
inspiring magic of her voice.
(Hamburger Morgenpost, 21.3.09)

Mannheim, Nationaltheater - Donizetti, Maria Stuarda - March 7, 2009

Belcanto in Reinkultur. Lucia Aliberti, eine absolut authentische
Vertreterin des frühromantischen, italienischen Opernrepertoires,
profilierte sich mit bravorös angelegten Koloraturen als Meisterin des
virtuosen Ziergesangs und erzielte subtile Wirkungen durch hauchzarte
Pianissimo-Töne in hohen und höchster Lage. Sie setzte auf wechselnde
Dynamik und raffinierte Farbnuancen. Überdies gestaltete sie das Lamento
der schottischen Königin höchst sensibel und nahm durch den Glanz ihrer
durchschlagskräftigen Stimme für sich ein. (Rheinpfalz, 9.3.09)
"Die Maria Stuarda ist für Lucia Aliberti so etwas wie eine Leib- und
Seelenrolle. Noten brauchte sie als einzige keine bei dieser
konzertanten Aufführung, sang und spielte mit einer Unbedingtheit, die
stark unter die Haut ging. Mit grösster Präsenz steigerte sie sich
hinein in ihre Rolle, durchlebte ihre wechselnden Seelenzustände
zwischen Stolz und Selbstaufgabe, Hass und entrückten Todesvisionen mit
stärkster Intensität. Dabei entwickelte die Sopranistin eine stimmliche
Meisterschaft, die man in den letzten Jahren selten erleben konnte.
Spinnwebfeine Pianissimi, berückend schwebende, ätherisch zarte Töne
servierte sie neben Koloraturen, die wie aus einem Faden gesponnen
schienen. Und dazu eine Belcantotechnik, die heute nicht mehr viele
Sängerinnen so begnadet beherrschen wie die italienische Sopranistin.
Bezwingend in der Phrasierung, vollkommen in der Balance zwischen
Virtuosität und Ausdruck. (Rhein-Neckar-Zeitung, 9.3.09)

Sixt-Go-Magazin - Winter 2008 - "Prima Donnissima"
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Zeit-Magazin - November 20, 2008 - "Das Rezept ihres Lebens"
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Ludwigshafen, Feierabendhaus – February 23, 2008

„Queen of Belcanto. Triumph of a Diva. Lucia Aliberti took the hearts by storm. Standing Ovations.
Lucia Aliberti shows very rare quality of voice. The dark, velvet colour with its compact, sonor center was immediately very present and showed also the dramatic potential. Plus the shining glance of the high notes in the unique manner of a Primadonna in grand style. A chapter of its own is the incredible technique of the singer in clear Belcanto-style. Her mastery was demonstrated impressively in the aria of Elvira in Verdis „Ernani“ and even more so in the mad scene of Donizettis „Lucia di Lammermoor“. She faszinated the audience with her touching beautiful colours of pianissimo and her refined
shades of notes. “
(Gabor Halasz, Rheinpfalz, 25.2.08)

Essen, Philharmonie – March 25, 2007

She came, she sang, she conquered. An evening of superlatives: Lucia Aliberti received standing ovations in the Philharmonie in Essen.
We sang with Lucia Aliberti. Franz Lehár’s Vilja song. And the audience was the choir. As for Lucia Aliberti, who without any sign of strain whatsoever had sung one aria after the other, her voice simply soared into the heights. This performance in the Essen Philharmonie was a spectacular one. Lucia Aliberti demonstrated admirably that she remains one of the last Prima donnas. Especially in terms of vocal style and stylistic difficulties. When we talk today about new singers entering the business, and of just how much alacrity is practiced by an ever-present media, we should never lose sight of a voice like this. Her piano is a real piano. And we never had the feeling that she was being condescending in any way – at least this was our impression, even after the plethora of encores that followed an enormously demanding programme. By that stage she had delivered her bravura arias: Bellini’s Norma und Donizetti’s Lucia, works she rendered in this fragile world of ours in a way that only Callas had done before her. Here we are not dealing with bel canto as just beautiful singing, but with the subtle art as a mirror of the state of the soul. She had also brought along Verdi’s "Aroldo", Cilea’s "Adriana Lecouvreur", Donizetti’s "Maria Stuarda" and Bellini’s "Beatrice di Tenda". Lucia Aliberti loves these women, women who suffer and fall in love, and are closer to madness than to life sometimes. She manages with her incredible soprano voice and her deep knowledge about the line itself, to define cadences in musical space and to project within a short aria a well-contoured character. Never is the atmosphere rigid or cold; and no sense or sterility or matter-of-factness crops up. What this artist gives us in terms of concentration and security in the high tessituras, as well as regarding plasticity of line and inner dramaturgy, is exactly that which – if you will allow – younger women can not bring across. At least not with this elegance of phrasing or dynamic nuance. Add to this heady mix Johannes Wildner: he and his Neue Philharmonie Westfalen were in top form indeed, particularly in the overtures. He conducted, as it were, on bended knee, acknowledging the greatness of this Sicilian prima donna, kissing her – metaphorically – and taking her into his heart. In musical terms, he was head over heels in love. The audience responded with thunderous applause. Aliberti handed out one musical present after another, encores without end. And in the Vilja song, as we hummed along to the tune, the Philharmonie in Essen became a veritable community of song.
(Michael Stenger, Westdeutsche Allgemeine Zeitung. March 27, 2007)

Il Giorno – December 2006 - Lucia received The Prize Callas in Milan
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Dresden, Semperoper – July 12, 2006

Glory of belcanto. Bravi for Lucia Aliberti. A demonstration, what perfect belcanto is all about. Describing this voice is not possible without superlatives. Her piano with magical force is like a wonder. Even with fastest tempi she can sing coloraturas very soft und still every note is without delay very present. In a fast sequence of tones in the middle-range she throws a top note in the air like a ball and can immediately return to the register she came from. She apparently does this effortless and with a never ending volume of breath. A true firework in the art of singing.“
(Dresdner Neueste Nachrichten, 14.7.06)

Milano, Auditorium – April 12, 2006

Rossini-Stabat Mater con Orchestra Sinfonica di Milano G. Verdi
„Lucia Aliberti, soprano drammatico di agilità, profonde note meravigliose nell „Inflammatus et accensus“aria imponente (che venne bisssata alla prima). Quando l‘ elemento melodico, dai fieri contrasti si attenua in una lina più morbida, la Aliberti profonde alleggerimenti da grande virtuosa.
(Gazzetta del Sud, April 14, 2006)

Bonn, Beethovenhalle – January 29, 2006

„Lucia Aliberti received storms of enthusiam. So many bravissimi were hardly ever heard in the sold out Beethovenhalle.“
(Bonner Rundschau, January 31st, 2006)

„A Gala of coloratura. Heart and voice of Lucia Aliberti belong to the italian belcanto. Amazing vocal artistic. Beautiful, touching, breathtaking.“
(Generalanzeiger Bonn, January 31st, 2006)

The times of the Divas seem to be over. Young singers take more examples of pop-starlets, when it comes to the question of how to present themselves in public. What a pleasure that one does not go at all into that direction. When Lucia Aliberti enters on stage, the great world of opera of ancient times also comes into the house. And exactely this attitude enables her to evoke a Norma or a Lucia di Lammermoor to a complete new life, with the power of her clear, dramatic soprano, her way of singing the lines of belcanto with her unique timbre. She sings the bravour-arias of Belcanto again with passion and depth. She takes evrything antique away from the Belcanto, because she surrounds the music with the magic that is was created with. Und because Lucia Aliberti never offers the listeners her own secret, she gives opera back from what opera lives - the imagination.
(Rheinischer Merkur, Germany, July 7, 2005)

Lucia Aliberti - The last primadonna.....
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Corriere Del Teatro
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Die Bunte
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Diva E Donne
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