All Reviews

Excellent 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.

[…] Laura Pisani (Queen of the Night of perfect vocal adaptation, because she is a dramatic soprano with ability for coloratura)[…]

And we reach the center of the plot: Laura Pisani makes a great composition of the daughter […]

Laura 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.

They 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…

The singers’ work was formidable, both the protagonists, the trio of nymphs and the quartet of saltimbanks.

The 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.

The 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.

The 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.

Laura 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 […]

The 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”).

the Argentine Laura Pisani climbs vertiginous intervals, worthy of Turandot, validating the entrance with ecstasy.

Pisani 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.

[…] 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. […]

In 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.

Laura 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.

The Ophélie that Laura Pisani sang was outstanding, especially her great aria of the fourth act.

But 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.

The 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.

The 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.

Laura 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.

Laura Pisani, impeccable every time, very touching in the aria of madness, before her character drowned.

Ofelia 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.

Pisani 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.

[…] 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. […]

In 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.

Laura 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.

The Ophélie that Laura Pisani sang was outstanding, especially her great aria of the fourth act.

But 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.

The 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.

The 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.

Laura 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.

Laura Pisani, impeccable every time, very touching in the aria of madness, before her character drowned.

Ofelia 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.

Laura 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.

Laura Pisani’s exquisite diction was amazing.

Soprano 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.

(…) 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.

Very 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.

Laura 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.

On 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.

Among 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 (…)

The 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.

(…) 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.

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.

(…) there were moments of brilliance, especially the personification of the automaton Olympia by soprano Laura Pisani, tragicomic and exceptional from every perspective.

Laura 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.

Laura Pisani showed out that she has the notes and something else. It was a graceful but refined Olympia, of great lightness and vocal agility.

Fortunately 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.

Laura 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.

(…) particularly outstanding was the role of Olympia by Laura Pisani.

Congenial 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.

Laura Pisani impresses with her aria in the ‘Queen of the Night’ style.

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.

Laura 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.

A special mention deserves soprano Laura Pisani as Dircé, Jason’s fiancé who dies at Medea´s hands.

Also shines Laura Pisani in the initial scenes as Dircé, the new wife of Jason (…)

Laura 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.

Laura Pisani is superb as Dircé.

Laura Pisani was a clear and contrasting Dircé.

The 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.

The crystalline voice of Laura Pisani as Dircé- who made a delicate interpretation of the character (…) sounded like a clear but harmonious contrast.

Laura Pisani as the princess Dircé excelled in the beautiful aria of the first act showing a refined and almost angelic aspect.

I 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.

Laura 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.

Laura Pisani resolved with great beauty her aria, including coloratura and staccatti, and performed very well the frightened figure of the King’s young daughter

A 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.

The 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.

As 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.

(…) 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.

Also standed out Laura Pisani as the Queen of the Night that with her high notes achieved a great applause with open curtain.

The 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.

(…) with some surprising performances, as in the case of soprano Laura Pisani in her brilliant personification of the Queen of the Night.

Another 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.

Once 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.

Soprano 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.

A 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.

Among 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.

This‚ 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.