La Flauta Mágica / Teatro del Bicentenario, 2019
review
10 / 02 / 2019 . Críticos Musicales de la Argentina
A brilliant version
read moreExcellent Laura Pisani, as the Queen of the Night, with perfect tuning and ability to develop the legato line, she managed to obtain an expressiveness that shows her understanding of each note’s value. She displayed an optimal coloratura technique and her interpretation of the two arias was magnificent. An incarnation of the Queen of the Night that will surely endure in the public’s memory.
10 / 11 / 2019 . Opera Actual Magazine
Teatro del Bicentenario in San Juan and its ‘Magic Flute’ in Spanish
read more[…] Laura Pisani (Queen of the Night of perfect vocal adaptation, because she is a dramatic soprano with ability for coloratura)[…]

Le Bal / 2019
review
09 / 26 / 2019 . Críticos Musicales de la Argentina
Cruel and Categorical
read moreAnd we reach the center of the plot: Laura Pisani makes a great composition of the daughter […]
09 / 29 / 2019 . Olyrix
Le Bal d’Oscar Strasnoy: Un kinopéra bon enfant au Teatro Colón
read moreLaura Pisani’s performance stands out for her limpid and bittersweet inflections and the virgin freshness of her soprano voice (which is supposed to be that of Antoinette, a teenage girl) that inscribes the look of her character about her family, and, more globally, about the work itself. Hence this affable impression that emerges and allows laughter, even if the cruelty of the child, encouraged by hatred towards her parents, sometimes seems like a game of massacre against them.
La première américaine du Bal, opéra du compositeur franco-argentin Oscar Strasnoy, présente une version semi-scénique agrémentée d’images fixes (des dessins d’Hermenegildo Sábat) et mobiles (une parodie du making of du spectacle) qui offre ainsi une mise en espace dynamique, mouvante et originale.

Ariadne auf Naxos / 2019
review
07 / 27 / 2019 . Clarín
Ariadne auf Naxos and her peculiar charm
read moreThey are complemented with great success by the quartet of Santiago Martínez, Pablo Urban, Luciano Garay and Iván García, the trio of Laura Pisani, Florencia Machado and Victoria Gaeta…
07 / 31 / 2019 . Página 12
The successes of Ariadne auf Naxos
read moreThe singers’ work was formidable, both the protagonists, the trio of nymphs and the quartet of saltimbanks.
08 / 02 / 2019 . MartinWullich
Ariadne auf Naxos, a lovely game
read moreThe trio composed by Florencia Burgardt (who replaced Victoria Gaeta in this performance), Florencia Machado and Laura Pisani had excellent moments in their vocal combinations and in their histrionics with Bacchus and Ariadne.
07 / 31 / 2019 . Críticos Musicales de la Argentina
A very accomplished show
read moreThe trio of Nymphs […] formed by Laura Pisani (Najad), Florencia Machado (Driad) and Victoria Gaeta (Eco), with adjustment, tuning and a lot of security in the three of them, completed their work with very good scenic compositions.
07 / 31 / 2019 . Críticos Musicales de la Argentina
Ariadne auf Naxos by Richard Strauss, at Teatro Colón
read moreThe rest of the cast did their job effectively, distinguishing among them Laura Pisani, Victoria Gaeta and Florencia Machado who sang harmoniously, with even tone and vocal balance.

Die Zauberflöte / Teatro Avenida, 2019
review
08 / 03 / 2019 . Críticos Musicales de la Argentina
The Magic Flute in the Juventus Lyrica season
read moreLaura Pisani stood out as the Queen of the Night because of the beauty of her voice and her technique in the difficult recitativo and aria of coloratura “O zittre nicht, mein lieber Sohn” – first act – and the famous aria “Der Hölle Rache kocht in meinem Herzen ”-second act- with absolute mastery of the voice in extensive passages and without truce […]

Piedade / Rio de Janeiro 2018
review
12 / 05 / 2018 . Movimento
Indelible blood stains
read moreThe Argentinean soprano Laura Pisani gave life to Anna of Assis for the second time – the first one was in the production made in her native land. Her excellent diction and prosody showed in almost nothing that she was a foreigner. Exuding deep, true feelings, without any trace of sentimentalism, the singer emitted a tinted tone, with brilliant highs notes that climbed the difficulties of the score without apparent effort. She shone in moments of contained pain,like the aria “It is necessary to die”, in which she speaks of the winter that carries in the soul; and in the pungent final aria, in which she asks for mercy to the heavens (“Pity, Lord, who created us too human”).
12 / 01 / 2018 . O Globo Journal
From Canudos to the suburbs, a line to the tragedy in the opera ‘Piedade’
read morethe Argentine Laura Pisani climbs vertiginous intervals, worthy of Turandot, validating the entrance with ecstasy.

Hamlet / 2018
review
December / 2018 . Scherzo Magazine N° 346
A Renovated Hamlet
read morePisani had not only the ideal ‘physique du rôle’ and knew how to recreate Ophélie’s mood changes, but also excellent means to approach the demanding score with remarkable brilliance, accurate emission and very well tuned high notes.
March / 2019 . Opera Magazine
Opera around the world – Argentina, Buenos Aires
read more[…] The baritone Armando Noguera (Hamlet) and the soprano Laura Pisani (Ophélie) rightly stood out, as the composer gives pivotal importance to their roles, and had ample opportunity to display the quality of their voices as well as their convincing theatrical abilities. […]
11 / 12 / 2018 . Tiempo de Música
Hamlet at Teatro Avenida: Interpretation and rewriting
read moreIn the role of Ofelia we find Laura Pisani, a young soprano with many qualities and a future, without doubts, promising. Pisani, expressive and technically impeccable, developed the transformation of the character throughout the plot: the initial infatuation, the rejection of Hamlet, the love disillusionment, and finally her collapse in madness and death. The scene of madness, debtor of an Italian tradition that had made these passages a genre on itself, is one of the most intense moments of the opera: of an amazing vocal virtuosity, the melodic and harmonic solutions are, however, more delicate than in their Italian equivalents. Advancing at all times on firm ground, Pisani was simply dazzling in her final scene, not only for her mastery of coloratura but for her deep expressiveness.
11 / 10 / 2018 . Opera in the World
Hamlet- Juventus Lyrica at Teatro Avenida
read moreLaura Pisani, who has the perfect physique for OFELIA, sang her difficult aria with total ease and remarkable brilliance. Beautiful timbre, perfect technique and remarkable as an actress.
11 / 05 / 2018 . La Prensa
Juventus Lyrica recovers valuable opera
read moreThe Ophélie that Laura Pisani sang was outstanding, especially her great aria of the fourth act.
11 / 08 / 2018 . El Cronista
Hamlet returns to stage after 80 years
read moreBut t is the madness of Ophelia what will stay with the viewer once the curtain is closed. Pisani puts the body and an impeccable precision to the notes with which she anticipates the suicide of her character. Ovation from a theater that was full the night of the premiere.
11 / 08 / 2018 . Opera World
Hamlet of Ambroise Thomas in Buenos Aires
read moreThe Ophélie of Laura Pisani will remain in our hearts for a long time. (…) Pisani faced the scene of Ofelia’s madness with conviction and dramatic realism and put into her singing a security and capacity that left the audience impressed. Her voice seems to adapt without the slightest problem to the multiple challenges of the part and painted the tragedy with precise notes, beautiful timbre, clean coloraturas, expressive sonorities. There was not a sports exhibition … there was Art, and the theater roared a more than deserved ovation.
11 / 04 / 2018 . Opera desde Hoy
Juventus Lyrica presents “Hamlet” as opera
read moreThe piece grows and wins near the end with the original scene of madness of Ophélie, by Laura Pisani, who dominates it, despite the arduous demands of extension and agility, but also dramatic intensity- it is not vain virtuosity.
11 / 04 / 2018 . Asociación de Críticos Musicales de la Argentina
Brilliant version of Ambroise Thomas’s Hamlet
read moreLaura Pisani composed a delicate but also passionate Ophélie and achieved an optimal version of “Partagez-vous mes fleurs” and ‘Pâle et blonde” in the scene of madness- which constitutes a real challenge for her voice, and to which the audience responded with a standing ovation.
11 / 05 / 2018 . GeoTeatral
Hamlet by Juventus Lyrica
read moreLaura Pisani, impeccable every time, very touching in the aria of madness, before her character drowned.
11 / 08 / 2018 . Ámbito Financiero
Hamlet: the tragedy in an opera sung in French
read moreOfelia cries her sorrows with a crude monologue. And Pisani shines, and the theater vibrates with pure anguish. The audience rewarded her with her biggest ovation.
December / 2018 . Scherzo Magazine N° 346
A Renovated Hamlet
read morePisani had not only the ideal ‘physique du rôle’ and knew how to recreate Ophélie’s mood changes, but also excellent means to approach the demanding score with remarkable brilliance, accurate emission and very well tuned high notes.
March / 2019 . Opera Magazine
Opera around the world – Argentina, Buenos Aires
read more[…] The baritone Armando Noguera (Hamlet) and the soprano Laura Pisani (Ophélie) rightly stood out, as the composer gives pivotal importance to their roles, and had ample opportunity to display the quality of their voices as well as their convincing theatrical abilities. […]
11 / 12 / 2018 . Tiempo de Música
Hamlet at Teatro Avenida: Interpretation and rewriting
read moreIn the role of Ofelia we find Laura Pisani, a young soprano with many qualities and a future, without doubts, promising. Pisani, expressive and technically impeccable, developed the transformation of the character throughout the plot: the initial infatuation, the rejection of Hamlet, the love disillusionment, and finally her collapse in madness and death. The scene of madness, debtor of an Italian tradition that had made these passages a genre on itself, is one of the most intense moments of the opera: of an amazing vocal virtuosity, the melodic and harmonic solutions are, however, more delicate than in their Italian equivalents. Advancing at all times on firm ground, Pisani was simply dazzling in her final scene, not only for her mastery of coloratura but for her deep expressiveness.
11 / 10 / 2018 . Opera in the World
Hamlet- Juventus Lyrica at Teatro Avenida
read moreLaura Pisani, who has the perfect physique for OFELIA, sang her difficult aria with total ease and remarkable brilliance. Beautiful timbre, perfect technique and remarkable as an actress.
11 / 05 / 2018 . La Prensa
Juventus Lyrica recovers valuable opera
read moreThe Ophélie that Laura Pisani sang was outstanding, especially her great aria of the fourth act.
11 / 08 / 2018 . El Cronista
Hamlet returns to stage after 80 years
read moreBut t is the madness of Ophelia what will stay with the viewer once the curtain is closed. Pisani puts the body and an impeccable precision to the notes with which she anticipates the suicide of her character. Ovation from a theater that was full the night of the premiere.
11 / 08 / 2018 . Opera World
Hamlet of Ambroise Thomas in Buenos Aires
read moreThe Ophélie of Laura Pisani will remain in our hearts for a long time. (…) Pisani faced the scene of Ofelia’s madness with conviction and dramatic realism and put into her singing a security and capacity that left the audience impressed. Her voice seems to adapt without the slightest problem to the multiple challenges of the part and painted the tragedy with precise notes, beautiful timbre, clean coloraturas, expressive sonorities. There was not a sports exhibition … there was Art, and the theater roared a more than deserved ovation.
11 / 04 / 2018 . Opera desde Hoy
Juventus Lyrica presents “Hamlet” as opera
read moreThe piece grows and wins near the end with the original scene of madness of Ophélie, by Laura Pisani, who dominates it, despite the arduous demands of extension and agility, but also dramatic intensity- it is not vain virtuosity.
11 / 04 / 2018 . Asociación de Críticos Musicales de la Argentina
Brilliant version of Ambroise Thomas’s Hamlet
read moreLaura Pisani composed a delicate but also passionate Ophélie and achieved an optimal version of “Partagez-vous mes fleurs” and ‘Pâle et blonde” in the scene of madness- which constitutes a real challenge for her voice, and to which the audience responded with a standing ovation.
11 / 05 / 2018 . GeoTeatral
Hamlet by Juventus Lyrica
read moreLaura Pisani, impeccable every time, very touching in the aria of madness, before her character drowned.
11 / 08 / 2018 . Ámbito Financiero
Hamlet: the tragedy in an opera sung in French
read moreOfelia cries her sorrows with a crude monologue. And Pisani shines, and the theater vibrates with pure anguish. The audience rewarded her with her biggest ovation.

Piedade / Bs. As. 2018
review
01 / 09 / 2018 . LuisBaietti, Opera y Ballet
Piedade, ópera de cámara del Colón
read moreLaura Pisani had an enormous performance in the most demanding role of the piece, because the vocal extension that the part demands. She stood out at every moment but particularly with her incisive high notes, and she also gave a great dramatic strength to her character.
01 / 08 / 2018 . Glosas
A Paixão segundo Euclides da Cunha – Theatro Municipal de São Paulo
read moreLaura Pisani’s exquisite diction was amazing.

The Magic Flute / 2018
review
12 / 05 / 2018 . Journal Sentinel
After disruptive week, Florentine Opera sings Mozart’s “Magic Flute”
read moreSoprano Laura Pisani delivered clean, controlled vocals as the Queen of the Night, including a clear, if a bit cautious, “Der Holle Roche,” which is the war-horse piece often known simply as “The Queen of the Night Aria.” The audience stopped the show briefly with applause after the aria and gave her a standing ovation at curtain call.

Piedade / 2017
review
04 / 09 / 2017 . Ópera desde hoy
Ópera de Cámara of Teatro Colón’s Première
read more(…) also the eloquence that reaches the woman’s character in Laura Pisani’s voice, whom we knew well as an agility soprano; we find her now with the same easiness but also with greater vocal weight. She was particularly applauded on Friday.

Rusalka / 2017
review
16 / 11 / 2017 . Ópera World
Rusalka in Teatro Colón of Buenos Aires
read moreVery good performance by Laura Pisani, María Belén Rivarola and María Luisa Merino Ronda, as the Nymphs of the Forest (in this version, also aquatic). Ductile, funny, beautiful presence, good voice, precise in the ensembles (which are many for these Nymphs) and very pleasant in the solo passages.

La Bohème / 2016
review
july / 2016 . OPERA IN THE WORLD
VERY PLEASING VERSION OF “LA BOHEME”
read moreLaura Pisani offered an excellent Musetta, with clear voice, enough volume and very confident as an actress. She delivered beautiful pianissimi in the difficult second act, which generally are not heard. Great job.
july / 2016 . ASOCIACIÓN DE CRÍTICOS MUSICALES DE ARGENTINA
“LA BOHEME” by the Ensamble Lírico Orquestal
read moreOn the other hand, the Musetta of Laura Pisani had refinement, besides an impeccable technique. Her acting talent combined spark and intelligent singing. With notes that flowed effortlessly, she showed grace but was also sensitive to the predicament of the protagonists.

Les contes d’Hoffmann / 2014
review
september / 2014 . TIEMPO DE MÚSICA
“The Tales of Hoffmann” at the Teatro Avenida: A gotic tale
read moreAmong the female roles standed out undoubtedly Laura Pisani’s virtuous Olympia, a good interpretation of the mechanical movements combined with a good display of staccati notes and vocal fireworks (…)
18 / 09 / 2014 . Nivelarte Crítica Teatro
The Tales of Hoffmann – Juventus Lyrica
read moreThe soprano Laura Pisani played Olympia and managed herself to captivate the audience who kept watching the development of the automaton character and exploded with an ovation when Pisani finished the aria Les oiseaux dans la charmille.
15 / 09 / 2014 . Operasdehoy
The Tales of Hoffmann by Juventus Lyrica
read more(…) a relevant performance from every point of view of Laura Pisani as the doll Olympia, so fluent that she added high notes to her part at the same time that made a remarkable composition from the physical and characterization.
17 / 10 / 2014 . La Gazeta del Progreso
“The Tales of Hoffmann”, by Juventus Lyrica
The Olympia of soprano Laura Pisani was amazing. The crystalline high notes, perfectly projected, powerful and sustained, were accompanied by a range of technical resources, such as the stacatti or the nuances at the moments of declination in the character’s emission (toy that runs out of battery). Her movements as an automaton and the expressions of her face completed an outstanding performance, which received one of the greatest ovations of the evening.
17 / 09 / 2014 . Clarín.com
The tales of Hoffmann at the Avenida: tragicomic ilussions
read more(…) there were moments of brilliance, especially the personification of the automaton Olympia by soprano Laura Pisani, tragicomic and exceptional from every perspective.
17 / 09 / 2014 . GEOteatral
THE TALES OF HOFFMANN BY JUVENTUS LYRICA
read moreLaura Pisani, in the role of Olympia the automaton, was undoubtedly the greatest of those shines. A perfect interpretation of the music accompanied by a very convincing fantasy.
september 2014 . Críticos musicales de la Argentina
A VERY GOOD VERSION
read moreLaura Pisani showed out that she has the notes and something else. It was a graceful but refined Olympia, of great lightness and vocal agility.
2014 September . Opera in the World
EXCELLENT VERSION OF “THE TALES OF HOFFMANN” BY JUVENTUS LYRICA
read moreFortunately Pisani has all the conditions the role requires, generating a flawless doll on the vocal aspect- with some high notes, which are not usually added – and a fun and believable character.
15 / 09 / 2014 . Luis Baietti – Ópera y Ballet
THE TALES OF HOFFMANN BY JUVENTUS AT TEATRO AVENIDA
read moreLaura Pisani was an excellent Olympia with remarkable confidence in her high notes, impeccable execution of the fioriture and stacatti and a perfect sense of humor.
29 / 09 / 2014 . MW – Martin Wullich
TALES OF HOFFMANN, an Offenbach’s Triptych
read more(…) particularly outstanding was the role of Olympia by Laura Pisani.

Medée / Holland, 2014
review
30 / 10 / 2014 . Opernnetz
FROM THE SHADOW OF CALLAS
read moreCongenial Laura Pisani as Dircé, who despite her glamorous outfits resembled a sister of Medea in her grief and brilliantly solved his scarcely less demanding tasks.
30 / 10 / 2014 . De Stentor
MEDEA’S CRUEL REVENGE IN A BEAUTIFUL OPERA
read moreLaura Pisani impresses with her aria in the ‘Queen of the Night’ style.

Medée / Bs.As. 2014
review
30 / 08 / 2014 . La Gazetta del Progreso
“MEDEA”, By Juventus Lyrica
The soprano Laura Pisani made a very good performance as Dircé. Her agile voice, with a beautiful lyrical timbre, begun her part with surprising coloratura, sharp crystal notes and fluidity. Her singing ran throughout the room with remarkable sonority. A silhouette and physical beauty appropriately used in the role was added to it.
30 / 07 / 2014 . Opera Word
MEDEA. CHERUBINI. BUENOS AIRES
read moreLaura Pisani’s Dircé -whom we had already applauded in her memorable Queen of the Night last season- was the perfect opposite side to the tempestuous Medea. Sung with a voice that does not discourage in front of the most demanding coloraturas, convinced and added a new triumph to her career.
July / 2014 . Tiempo de Música
“Médée” at Teatro Avenida : Don’t play around with her
read moreA special mention deserves soprano Laura Pisani as Dircé, Jason’s fiancé who dies at Medea´s hands.
30 / 07 / 2014 . Espacio ADN cultural
MEDEA
read moreAlso shines Laura Pisani in the initial scenes as Dircé, the new wife of Jason (…)
28 / 07 / 2014 . Una Voce Poco Fa
EXCELENTE VERSION DE MEDEA POR JUVENTUS LYRICA
read moreLaura Pisani sang with beautiful timbre, very good line of singing and handling of the coloraturas, transmitting to perfection the insecurities of her character. In addition, she showed a great figure in one of the riskiest moments of the staging.
28 / 07 / 2014 . Host News Traveller
Medea gets Juventus Lyrica overcome itself
Laura Pisani is superb as Dircé.
25 / 07 / 2014 . Seen and Heard International
Stark Medea From Juventus Lyrica
read moreLaura Pisani was a clear and contrasting Dircé.
24 / 07 / 2014 . Buenos Aires Herald
Juventus Lyrica revisit Cherubini’s Médée
read moreThe cast, led by the powerful, fearsome and eloquent Sabrina Cirera, is strong and bravely overcomes the piece’s vocal hurdles. This is a strong contrast with the lovely, beautifully sung Glauce by Laura Pisani.
18 / 07 / 2014 . Críticos musicales de la Argentina
Enthusiastic applauses for a successful version
read moreThe crystalline voice of Laura Pisani as Dircé- who made a delicate interpretation of the character (…) sounded like a clear but harmonious contrast.
22 / 07 / 2014 . La Nación
The appropriate ransom of an artist
read moreLaura Pisani as the princess Dircé excelled in the beautiful aria of the first act showing a refined and almost angelic aspect.
21 / 07 / 2014 . Opera desde Hoy
The present of Medea’s myth through Cherubini’s opera with two protagonists
read moreI was able to observe better not only an unknown work for me but also an unprecedented style at local level. To appreciate the good work of Laura Pisani as Dircé, brief, but with vocal commitment that did not prevent her from “playing” marked actions, far from a comfortable statism to just sing.
19 / 07 / 2014 . El apasionado
Medea, another magic night by Juventus Lyrica
read moreLaura Pisani was a magnificent Queen of the Night -a difficult role in Mozart’s Magic Flute- in 2013. Her voice is crystalline, agile, very sharp and powerful as well, and in this piece she made up the fearful Dircé, whose fears became real as action develops itself. She also stood out as an actress showing that fear.
18 / 07 / 2014 . LUIS BAIETTI – OPERA Y BALLET
MEDEA BY JUVENTUS AT AVENIDA
read moreLaura Pisani resolved with great beauty her aria, including coloratura and staccatti, and performed very well the frightened figure of the King’s young daughter

Shell & Festivales Musicales Tour / 2014
review
06 / 07 / 2014 . Entre Notas (Rosario, Sta. Fe)
BIENAL JUVENIL 2013/ 2014 – WINNERS CONCERT
read more(…) The audience exploded in applauses with the Aria Der Hölle Rache of Mozart’s opera ‘The magic flute’ where they could appreciate a very good command of diaphragmatic breathing, a correct dosage of air and a proper use of vowel patterns, aspects that allowed her to sing the most complex passages that the technical difficulty of this piece requires.
22 / 06 / 2014 . El Norte (San Nicolás de los arroyos)
GREAT CONCERT FOR THE BIRTHDAY OF RUMBO
read moreLaura Pisani has an attractive and natural voice to face the chosen repertoire and a delicate-expressive force that was always present.

Die Zauberflöte / 2013
review
24 / 04 / 2013 . Tiempo de música
“The Magic flute” at Teatro Avenida: Initiation rite
read moreA true surprise,because of some positive but different reasons, were the performances of Laura Pisani as the Queen of the Night and Gabriel Carasso as Papageno, both very young. Pisani incarnated a hieratic Queen, showing scenic confidence and vocal precision, both in the lyrical register of her first appearance and in the devilish coloratura that crowns each of her arias.
22 / 04 / 2013 . Geo teatral
The Magic Flute – review
read moreThe Aria of the Queen of the Night, in the voice of Laura Pisani, painted joy in the whole platea with an execution full of emotion and energy.
22 / 04 / 2013 . MW Martín Wullich – Culture and entertainment news
The Magic Flute, a valid enchantment
read moreAs for the role of the Queen of the Night, a challenge for any soprano, Laura Pisani showed that she can handle the scary scales Mozart wrote for his sister-in-law Josepha Hofer.
23 / 04 / 2013 . La Nación
The Magic Flute, a great production
read more(…) Soprano Laura Pisani in a surprising Queen of the Night, outstanding in her two famous arias of coloratura (“O, zittre nicht” and “Der Hölle Rache”), because of the precision, intonation and superb character- won the ovation of the Première.
22 / 04 / 2013 . Suite101 – Music and Entertainment
The Magic Flute, W.A. Mozart by Juventus Lyrica in Buenos Aires
Also standed out Laura Pisani as the Queen of the Night that with her high notes achieved a great applause with open curtain.
23 / 04 / 2013 . La Prensa
Successful production of “The Magic Flute”
read moreThe starting season of Juventus Lyrica with Mozart’s „The Magic Flute“ was extremely auspicious with an almost seamless version and from all points of view. […] Laura Pisani (Queen of the Night) showed eloquent singing and solvent agility.
21 / 04 / 2013 . Clarín
Mozart, with economy and audacity
read more(…) with some surprising performances, as in the case of soprano Laura Pisani in her brilliant personification of the Queen of the Night.
19 / 04 / 2013 . operadesdehoy – Blog
Juventus Lyrica presents a notable versión of The Magic Flute
read moreAnother fundamental revelation is Laura Pisani as Queen of the night, as if it was not night of premiere and debut, she prevailed vocally and musically in her two great moments. Already in the first one she surprised us with her central register with more weight than that of a light soprano, while she reached the high notes with total naturalness, as well as the cleanness of her coloratura. Thus it is understood that in her second intervention she achieved one of the biggest ovations at open curtain that have been heard in that scenario and in absolute terms in recent times.
27 / 04 / 2013 . Ópera Club – Blog
“THE MAGIC FLUTE”. AN EXCELLENT OPENING SEASON BY JUVENTUS
read moreOnce again, Juventus Lyrica proves that it is the group off Colón that achieves the best results. […] A whole revelation Laura Pisani as the Queen of the Night.
19 / 04 / 2013 . Opera in the Word
The Magic Flute
read moreSoprano Laura Pisani dazzled as Queen of the Night. Without problems in the high sector nor in the coloratura, she managed herself to stamp a drama uncommon in light sopranos. Excellent performance.
21 / 04 / 2013 . Opera Word – International Opera Magazine
Die Zauberflöte’s Mozart Review. Buenos Aires
read moreA separate paragraph deserves Laura Pisani who dazzled with her Queen of the Night sung with a security and beauty of sound to remember. With clear and expressive coloraturas, without dodging the risks and demands and endowing her role with all the dark and hysterical character that the part requires conquered nourished and closed ovations.
28 / 04 / 2013 . Seen and Heard International
Somewhat Magical Flute From Juventus Lyrica
read moreAmong the other cast members, Laura Pisani’s Queen of the Night must be highlighted for her drama and agility and her ovation was well deserved.
06 / 05 / 2013 . Tribuna musical
“The Magic Flute”, a paradigm of contradiction
read moreThis‚ Magic Flute‘ will be remembered musically for two able interpreters: Santiago Bürgi’s Tamino was sung with quality of timbre and fine line, and a new name, Laura Pisani, was notably adept as the Queen, for she solved most intricacies and gave character to the part.