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Michael Cookson
MusicWeb International, January 2015

…I found particularly impressive Alieva’s fluid tone and overall vocal control in both ‘Lisa’s Aria’ from The Queen of Spades by Tchaikovsky and Ivan Sergeich from The Tsar’s Bride from Rimsky-Korsakov. The famous ‘Letter Scene’ from Eugene Onegin is a striking example of strong, fluid singing in an opera to which Alieva seems eminently suited.

Credit is due to the New Russia State Symphony Orchestra under the baton of Dmitry Yablonsky for providing unfailing support. © 2015 MusicWeb International Read complete review

George Hall
Opera, December 2014

Opera Arias (Soprano): Alieva, Dinara - VERDI, G. / PUCCINI, G. / CATALANI, A. / CILEA, F. / LEONCAVALLO, R. (Pace, mio Dio) DE3462
Vocal Recital: Alieva, Dinara - RACHMANINOV, S. / TCHAIKOVSKY, P.I. / RIMSKY-KORSAKOV, N. (Russian Songs and Arias) 8.572893

These two CDs exemplify the art of the Azerbaijani soprano whose reputation in mainland Europe, in particular, has risen concurrently with a succession of international competition successes.

Alieva clearly has a lot going for her. Further, she is one of those vocalists who sing perfectly in tune, doing so here throughout a wide repertory and with an unflawed loveliness of tone even in heavier material…She is unfazed by the music’s technical demands, and there is no sense of strain as she goes for and holds high notes; throughout, her soprano retains its fleshy quality and liquid surface.

Particularly impressive are ‘Un bel di’, with its resilience as well as its grateful and stylish use of portamento; her vibrant, wine-dark tone in ‘Ebben? Ne andro lontana’, whose inherent melancholy she explores imaginatively; and her realization of Nedda’s life-hungry attitude in the Pagliacci ballatella.

She adds some bite to the tone for the Russian repertory, which arguably suits her even better. There’s an incipient hysteria to her two extracts as Lisa in The Queen of Spades that rises to desperation in the second. Considerable acting skills inform her interpretation of Marfa from Rimsky-Korsakov’s The Tsar’s Bride, which also show the tonal depths of her instrument, and there’s a soaring quality to the solo from Rachmaninov’s Francesca da Rimini; but for sheer loveliness, the same composer’s Vocalise is hard to beat, its blend of gentleness and regret perfectly captured. © 2014 Opera

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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