Her debut album of music . . . is a simply stunning work of musical art and showcases Aida's soaring vocals with tremendous clarity and smooth transition of notes. Simply put, this is an extraordinary album and deserves to be heard by lovers of classical music, of her, and of music in general . . . Personally, I first got introduced to Aida via her work on the "Florence Foster Jenkins" soundtrack, where she performs a stunningly beautiful version of Delibes' "The Bell Song" . . . In closing, it has to be noted that Aida Garifullina's vocals, looks, attitude are all top notch and her work here on "Aida" will make the hairs stand up on your arms. She is as equally talented as she is beautiful and commands that as much truth and verve are embroiled evenly within every note she brings forth, each and every time.
Russian soprano Aida Garifullina is the latest sensation on the operatic scene . . . Her voice is rich . . . She is most impressive in the final track , "Midnight in Moscow" . . . The recording was made [in a very resonant acoustic] . . .
. . . [an] impressive debut album . . . [when Garifullina] floats through Rachmaninov's "Vocalise", or the ecstatic, stratospheric climax to Rimsky-Korsakov's "Oriental Romance", you understand why she has the world at her feet. The burnished quality of her timbre, flawless from top to bottom, is thrilling.
Garifullina has a fine lyric coloratura voice with a surprising strength and vibrancy to it, so that the more coloratura items have a very particular quality to them which makes her performances very appealing. She also has a lovely secure technique and a nice evenness of tone from top to bottom . . . "Je veux vivre" from Gounod's "Romeo et Juliette" gives you the idea, with shapely phrases, technical security and great charm . . . [in "The Bell Song" from "Lakme"] we can again appreciate the beauty of sound allied to superb technical delivery . . . The big advantage of hearing Garifullina in this music is that she is able to combine a fine technique, with quite a full voice in just the way the roles require. She sings Tchaikovsky's "Serenada" from "Six Romances" and Rachmaninov's "Lilacs" from "Twelve Romances" with great style and engaging charm . . . There is a lovely lyric melancholy to "Maria's lullaby" from Tchaikovsky's "Mazeppa", and the two items from Rimsky Korsakov's "The Golden Cockerel" show the Queen of Shemmakha at her most langorously seductive . . . If you like beautiful singing, then this is the disc for you. In all the items on the disc, Garifullina shows herself to be a stylish, elegant performer with a supreme technique.
. . . [on the basis of this excellent debut disc Aida Garifullina] has a great future ahead of her . . . an alluring combination of well-known arias . . . The arias by Gounod and Delibes go well, whilst in the arias from her homeland, she is even more persuasive . . .
Aida Garifullina won Plácido Domingo's 2013 Operalia competition and, on the basis of this excellent debut disc, has a fine future ahead of her . . . From the West, she sings Gounod's "Je veux vivre", and Delibes' "Bell Song" which [sounds really well] . . . From the East there's music by Tchaikovsky, Rachmaninov and Rimsky-Korsakov, all winningly, and idiomatically, performed. I especially enjoy R-K's sinuous "Song Of India", from Sadko, and his "Hymn To The Sun", from R-K's last opera, "The Golden Cockerel". But then I also love the Lullaby, from Tchaikovsky's "Mazeppa", and, of course, Rachmaninov's evergreen Vocalise. In fact, I like it all. But it's the final item that steals the show for me: "Midnight In Moscow", with an orchestra of balalaikas. What a great tune it is.
. . . [Garifullina's] debut album is well worth listening to . . . [Juliette's "Waltz Song" and Lakme's "Bell Song" are both calling cards efficiently dispatched with] good coloratura and comfortable top . . . Garifullina reveals a surprisingly warm middle voice and quite a saturated tone for a light soprano . . . she sings sensibly within her means and capitalises on the freshness of her instrument . . . her selections from Rirnsky-Korsakov, Tchaikovsky and Rachmaninov have an emotional directness . . . Cornelius Meister conducts with seriousness of intent and some spacious tempi.
. . . Aida Garifullina has it all. She is stunningly beautiful, and possesses the voice to match . . . as amply revealed on her debut album for the Decca label . . . she sings the whole thing with such finesse that it's easy to . . . revel in the lusciousness of the music . . . [in the Tatar folksong "Allüki"] the heart of Garifullina's voice is revealed. Notice the soft precision of her consonants, the gentle undulations of her vibrato, and the tenderness of her expression. It's the particular combination of these attributes that makes her unique . . . Garifullina's utterly beguiling interpretations of "Cossack Lullaby" and Rachmaninov's "Lilacs" further prove her distinctive talent. I can't wait to find out what's next for this exceptional soprano.
. . . she demonstrates plenty of fizz in Juliette's "Je veux vivre", which is giddy with excitement . . . She is carefree and vivacious in Snegurochka's aria from Rimsky- Korsakov's "The Snow Maiden" . . . and moving in the lullaby from Tchaikovsky's "Mazeppa" . . . There's seductive charm and gilded upper notes in the chromatic arabesques of the Queen of Shemakha's "Hymn to the Sun" from "The Golden Cockerel" . . . she winningly appropriates "The Song of the Indian Merchant" from tenors . . .
The two opening arias excerpted from "Roméo et Juliette" and "Lakmé" display the livelier, flashier side of Ms. Garifullina's timbre: "Ah! Je veux vivre" generates ample excitability . . . Where Aida Garifullina arrestingly touches the ear is settled within the remaining works, all which originate inside her Motherland: she's in her element, collectivizing many types of emotional stretches to make the librettos pop with meaning and empathy. Native reminisces are visceral and well-articulated particularly in the traditional lullaby, "Allüki" and Rachmaninoff's "Lilacs" . . . Garifullina's voice simply floats like a wave of liquid velvet . . . "Hymn to the Sun" has radiance and flourished notoriety, while the feeling of temptation surfaces beautifully in the "Seduction Aria" from "The Golden Cockerel". One the most pleasing attributes Ms. Garifullina brings to the forefront is her polished grace notes, particularly evident in the "Oriental Romance" . . . She dissipates notions of effort surrounding any one of the many difficult reaches found on this album. It makes the listen that much more imposing and persuasive. Alignment of notes to voice is convincingly impeccable with a delivery being erudite, direct and confident without assumed swagger. This Decca CD is pure joy.
. . . [Garifullina] captures the swirling excitement of "Je veux vivre" and brings vibrant colour to "Où va la jeune Indoue" . . . here is an artist who puts Rimsky-Korsakov at the centre of her enterprise. In addition to "Snow Maiden", "The Golden Cockerel" is represented dazzlingly by two of the Queen of Shemakha 's arias . . . There is something satisfyingly old-fashioned about Garifullina's artistry . . . the sheer pleasure she conveys in her singing -- and the confidence of a singer revelling in her own glamorous tone -- suggests the emergence of a possible new star.
Garifullina is in superb voice. She has real intensity, buoyancy and freshness in the two French arias. In "Ah! Je veux vivre" from Gounod's "Roméo et Juliette" the soprano soars effortlessly to the high register. In the "Bell Song" from Delibes' "Lakmé", such a splendid vehicle for coloratura display, she is sultry, dark-tinged and atmospheric . . . [Allüki" is] conveyed with such aching tenderness . . . ["Oriental Romance" is deeply satisfying] in an alluring performance heavy with exotic perfume. Queen of Shemakha's arias from Rimsky-Korsakov's "The Golden Cockerel" make the greatest impression . . . [both arias] display Garifullina's smooth and assured singing with such attractive coloratura and effortlessly controlled power . . . ORF Radio-Symphonieorchester Wien under the baton of Cornelius Meister proves to be a wonderful partner for Garifullina, providing striking playing of focus and warm colour . . . This ravishingly sung album of soprano songs and arias is all the more remarkable as this is Aida Garifullina's debut release.