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Ralph V Lucano
American Record Guide, September 2013

…Alieva’s voice sounds warm and beautiful. She shades the melody nicely and has a good trill.

The orchestra plays well and confidently under Yablonsky’s direction. © 2013 American Record Guide Read complete review on American Record Guide

Göran Forsling
MusicWeb International, July 2013

Judging by this debut recital [Alieva] seems well equipped to pursue a glorious career for years to come. Rachmaninov’s ubiquitous Vocalise is as good a test as any song or aria when it comes to voice production, beauty of tone, legato and technical accomplishment. She has it all, including a fine trill. …she certainly doesn’t lack dramatic intensity.

Two arias from Rimsky-Korsakov’s The Tsar’s Bride follow next. This is R-K at his very best: melodious and with admirable orchestral colours. In particular the aria from act IV is truly lovely and it is difficult to imagine it better sung.

I have been lucky to hear several superb readings of Tatiana’s role in Eugene Onegin in various opera houses across the years: Maria Fontosh…and somewhat later Soile Isokoski in Helsinki. Dinara Alieva is in their league, deeply inside the role and with glorious youthful tone.

I am also full of admiration for the playing of the New Russia State Symphony Orchestra under the inspiring direction of Dmitry Yablonsky. The sound is first class too. This is a recording to treasure! © 2013 MusicWeb International Read complete review

International Record Review, June 2013

Basing my knowledge of Alieva’s singing solely on this recital, I find her voice genuinely interesting, on every track. She and the well-supporting New Russian Symphony Orchestra under Dmitry Yablonsky are clearly recorded… © 2013 International Record Review

Ronni Reich, March 2013

Azerbaijan native Dinara Alieva has yet to emerge on the American opera scene, but she has sung in prominent venues all over Europe and Russia. With a powerful, secure soprano and a dramatic sensibility, she is a welcome addition on this recording.

…Dmitry Yablonsky leads the New Russia State Symphony Orchestra in strong, suspenseful performances…the selections are wonderfully rich. Both they and Alieva deserve to be heard. © 2013 Read complete review

David Denton
David's Review Corner, February 2013

A great deal is expected of Dinara Alieva, a young soprano from Azerbaijan who has collected an array of competition awards in 2010 prior to a Vienna opera debut. Her busy diary of engagements now stretches through the next four years and include the world’s great opera houses, including the Vienna State Opera, Frankfurt Opera and Deutsche Oper Berlin. It is indeed a very beautiful voice, as you will hear in a very effecting account of the Letter Scene from Tchaikovsky’s Eugene Onegin, and one so precious that I hope it will be carefully nurtured by taking lyric roles before embarking on dramatic characterisation. As she writes her letter you can here visualize the young girl suddenly filled with love, and passionately wishing to express her feelings. I was also pleased with her account of the first and seventh of the composer’s opus 47, where she uses words so effectively. Maybe she should have opened the disc with these, Rachmaninov’s Vocalise requiring a singer who can float notes and leave them hanging on air. The remainder of the disc is largely given to two arias each from Tchaikovsky’s The Queen of Spades and Rimsky-Korsakov’s The Tsar’s Bride. She seems particularly suited to Rimsky’s perky Marfa in the second act, and whose eventual sadness Alieva also movingly portrays. The New Russia State Symphony Orchestra admirably fills the backdrop for conductor Dmitry Yablonsky, and while Alieva is placed well forward, orchestral detail is well defined. © 2013 David’s Review Corner

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1:30:57 PM, 23 October 2014
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