Press

“Undoubtedly, Sonya Yoncheva is one of the current benchmarks for the role of Floria Tosca. The Bulgarian soprano possesses powerful vocal means, her vocal color is beautiful, her lyricism is deep and her register is even throughout. Totally credible and magnetic on stage, she knows how to give each moment the right tone both in the acting and with her perfect singing line, without resorting to tricks or shouts, as is very common in this role.”
Gustavo Gabriel Otero, Pro Ópera / L’ape musicale

“Sonya Yoncheva is also visually a Tosca straight out of a storybook. Her multifaceted soprano flows effortlessly, without strain or breaks, and is deeply moving, especially in her signature aria, Vissi d’arte, in Act II, where she sings of her life. This becomes one of the most genuine moments of the entire performance. She portrays the role with remarkable nuances: passionate and imperious as the jealous diva, yet also pleading and desperate as a woman in distress, and ultimately, a merciless murderess.”
Dr. Helmut Christian Mayer, Opera-Online

“At his side, Sonya Yoncheva leaves an outstanding impression. Finally, a Tosca you don’t want to run away from. (…) with Yoncheva, the voice flows effortlessly, without strain, without force. Added to that is the dramatic coloring in the middle register, which dominates throughout.”
With this Tosca, one would gladly pray to God every day.”
Jürgen Pathy, Klassik Begeistert

“The Bulgarian-born Sonya Yoncheva brings a true lirico-spinto soprano to the title role, demonstrating in the famous second-act prayer, Vissi d’arte, what a marvelous singer she is. With a finely lyrical yet brilliantly luminous soprano, she creates an exceptionally well-shaped, powerful portrayal of the role, enriched with pleading nuances, expressive phrasing, and dramatic outbursts. At the same time, the grand gestures of the jealous diva are never neglected.”
Thomas Rauchenwald, Simply Classic

“On Sunday, the Tosca cast with Sonya Yoncheva, Piotr Beczała, and Ambrogio Maestri promised a feast of vocal excellence. And that promise was fulfilled.
Tosca’s impatient ‘Mario’ calls already flared up fiercely from the wings of the Church of Sant’Andrea della Valle; Yoncheva’s soprano then unfolded as lush, rounded, and softly cushioned. Her Tosca was reminiscent of an oligarch’s wife at a luxury resort. Vissi d’arte was confidently performed…”
Stefan Ender, Der Standard

“Sonya Yoncheva’s full, radiant soprano is especially impressive in Vissi d’arte.”
Dr. Karl-Heinz Roschitz, Kronen-Zeitung

“Unlike many other performers of the role, who struggle to carve out an individual interpretation from the part’s iconic status, Sonya Yoncheva gave the title character a strong presence. In this Tosca, ‘prima donna airs’ and ‘private womanhood’ merged into a pathetically overstated, perhaps even slightly arrogant personality. This Tosca knew no doubts about her self-worth.
Yoncheva’s Tosca tried to negotiate with Scarpia ‘at eye level’; her ‘Il prezzo!’ made it unmistakably clear what she thought of him. Sinking on her knees after Vissi d’arte was the highest degree of humiliation she was willing to grant Scarpia. And when she then took a sip of wine to ‘compose herself,’ her gaze fell almost casually on the knife. She moved the chair, leaned against the small table, almost as if she wanted to lure Scarpia toward her, and as he approached, full of desire, her Tosca suddenly seemed to abandon all premeditated plan, stabbing repeatedly in a ‘hysterical frenzy.’
Yoncheva knew how to control her soprano well and use its resources effectively. She scaled back her voice or let it shine more powerfully as needed… .”
Dominik Troger, Oper in Wien

[Photo: Michael Poehn / Wiener Staatsoper]