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.