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Michael Cookson
MusicWeb International, March 2018

Stoyanova’s conductor is fellow Bulgarian Pavel Baleff, who maintains a flowing tempo and obtains admirable support from the versatile Münchner Rundfunkorchester. Performing with undoubted commitment the players clearly relish this verismo repertoire. © 2018 MusicWeb International Read complete review

Raymond Beegle
Fanfare, September 2017

Orfeo, which invariably offers the very best, brings us the sumptuous voice of Krassimira Stoyanova singing 15 sumptuous verismo arias. One cannot ask for a more beautiful sound from the singer, from the orchestra, the hall, or recording the technicians.

Stoyanova, who has a brilliant discography of French, Slavic, and Italian arias to her credit, is a highly intelligent singer. Her phrasing is superb, her intonation faultless, her manner ardent and sincere.

Maestro Pavel Baleff is an expert accompanist, making the Munich Radio Orchestra as pliable and subtly nuanced as a string quartet. Munich Radio has one of the world’s finest orchestras, and even the solo passages, for instance the cello solo in “La mamma morta,” are played with virtuosity and exquisite taste. © 2017 Fanfare Read complete review

Roger Pines
Opera News, August 2017

This program sticks to verismo’s beaten track, but Krassimira Stoyanova’s glowing tone and thoughtful musicality make you hear those works with fresh ears. Although the Bulgarian soprano has sung only a few of these roles onstage, each excerpt finds her communicating admirable dramatic involvement.

The Munich Radio Orchestra is fine under Stoyanova’s compatriot, Pavel Baleff, who knows how to keep this music energized without overdoing it. © 2017 Opera News Read complete review

Robert Levine, July 2017

The whims of opera fans are legendary, and if justice were to be served, soprano Krassimira Stoyanova would be as famous as Anna Netrebko (perhaps) and Angela Gheorghiu (definitely). Hers is a grand sound, with metal behind it, formidable pitch-accuracy, and fine insights into the characters she’s portraying. She eschews exaggeration—possibly to her detriment… Her use of portamento is echt Italian, and her voice is made for this big-boned music when need be, and she can sing sweetly as well: her Liu is lovely, as is the start of “Un bel di”.

There’s great warmth in her singing of Adriana’s two arias; her “La mamma morta” is filled with tragedy, and she sings the heck out of Fidelia’s hand-wringing aria from Puccini’s Edgar. The lengthy scene from Mascagni’s Lodoletta is a welcome rarity, and she’s thoroughly involving. Wally’s aria may lack Callas’ unspeakable sadness, but it reaches great heights; ditto for her “Vissi d’arte”. © 2017 Read complete review

Ralph P Locke
American Record Guide, July 2017

The entire album is performed with blazing conviction and close attention to the text and dramatic situation. These are arias of determination, desperation, and desolation; and Stoyanova helps me believe in each heroine’s specific crisis. Her beautiful pianissimo high notes, which reviewers of her earlier recordings greatly appreciated, find apt application in many of these excerpts as well. © 2017 American Record Guide Read complete review on American Record Guide

Opera Now, May 2017

…Stoyanova has not just the voice but the manner for these roles. She relishes the vocal sweep, direct emotion and expressive possibilities of each aria…Her use of portamento is masterly and she has verismo style at her fingertips. A gorgeous disc. © 2017 Opera Now

Hugo Shirley
Gramophone, May 2017

Krassimira Stoyanova is a stalwart of many of the world’s great opera stages and a singer of real quality.

The voice itself is not the most yielding or flexible instrument, …But it’s a bright and powerful sound—less rich and plummy than Netrebko, a great deal steelier than Gheorghiu—and is under total technical control. © 2017 Gramophone Read complete review on Gramophone, April 2017

[Stoyanova] is well accompanied throughout the disc, and her fans will surely enjoy hearing how she handles so many examples of operatic hyper-emotion. Even those who do not yet know Stoyanova’s considerable abilities may enjoy hearing her perform this material but the disc does give a rather one-sided view of her singing, and therefore remains more likely to be a “fan” recording than a really good introduction to a first-rate soprano voice. In truth, not everything here is verismo in the traditional sense, but the level of emotional expression is such that the CD’s title is understandable and the material downplays Stoyanova’s abilities in other types of opera, notably bel canto. © 2017 Read complete review

Barry Bassis
The Epoch Times, April 2017

One noteworthy fact is that, to bring out the drama in each of the pieces, [Stoyanova] performs the entire scene and pays special attention to the texts. …Cilea wrote the recitative to be sung and that is the way Stoyanova performs it on the album.

She infuses these scenes and arias with such emotion that listeners cannot help but be moved. © 2017 The Epoch Times

Rebecca Franks
BBC Music Magazine, April 2017

The Bulgarian soprano Krassimira Stoyanova gives her all in this emotionally-charged recital, revealing a voice of many colours and depths. © 2017 BBC Music Magazine

Robert Benson, April 2017

Bulgarian soprano Krassimira Stoyanova (b.1982) has sung at all major opera houses and appears often with orchestras. …Her beautiful voice is perfectly controlled in these recordings made 2015–2016 in Bavaria. © 2017 Read complete review

Kai Luehrs-Kaiser
kulturradio vom rbb, February 2017

With her new album Stoyanova proves herself again to be one of the five very best sopranists in the Italian genre in recent times. And regarding “Verismo” she is better than Netrebko. © 2017 kulturradio vom rbb

Gerhard Persché
Opernwelt (Germany), February 2017

That she [Stoyanova] is not being seen quite as high rated as Anna Netrebko is mainly due to her neglect of being glamourous. Artistically her Verismo-Album is overtaking that of the Russian singer. © 2017 Opernwelt (Germany)

Remy Franck
Pizzicato, December 2016

After Netrebko’s Verismo, Orfeo releases the real one, with Krassimira Stoyanova. What a passion, what a dramatic power! She embodies every character and just gets to the truth! From a technical point of view,  at 54, she has still a perfect control of her voice, of breath, dynamics and vibrato. The passagios are impeccable, intonation is flawless, and legato-lines are heart-melting. © 2016 Pizzicato

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