Press

In December and January, Sonya Yoncheva captivated audiences with her highly acclaimed Christmas program at the Royal Chapel of the Versailles Castle and the Gstaad New Year Music Festival. Critics have praised her “natural expressiveness,” “remarkable breath control” (Première Loge), “richly colored voice,” “natural charisma” (Forum Opéra), “sumptuous high notes,” and “exquisite mezza voce” (Classykeo).
You can find the full reviews below:

“Yoncheva in Gstaad: Happy New Year

RECITAL – At the foot of the Swiss Alps, the 19th edition of the Gstaad New Year Festival once again offers the chance to spend the festive season in excellent company, including a soprano who proves her mastery of many languages.

(…)

And then there’s Sonya Yoncheva. The luminous Bulgarian soprano, entrusted with the task of reviving the Christmas spirit just hours after the generous feasting of New Year’s Eve, is no stranger to the local audience (she’s also a regular at the summer Menuhin Festival). She doesn’t undertake this mission alone: alongside her are ten musicians and five choristers, all from the ranks of the Orchestra and Choir of the Royal Opera of Versailles. A full stage indeed, in the wooden splendor of Saanen Church, a true jewel of gold and frescoes. One could almost forget the majestic organ towering above the nave, but for the captivating presence of Yoncheva herself.

If she’s going to wish you a Merry Christmas and a Happy New Year, she intends to do it in every language. Every language? Well, almost. But still. A touch of English to start? Cue Handel’s Messiah. “I know that my Redeemer liveth,” she announces. And you want to believe her and follow her along this path of redemption, carried by her velvety, supremely smooth voice. Her formidable range effortlessly spans warm low notes to celestial high notes, her technique so natural it seems almost effortless. Add to that her ability to imbue each word with its precise emotional weight. What a moving moment!, some in the audience must be thinking.

And in French? The same thrill. From an excerpt of Gounod’s Messe Solennelle (“Repentir”), the soprano conveys all its emotional power, with a flawless mastery of legato and nuanced dynamics culminating in sumptuous high notes—all in perfectly comprehensible French. Undoubtedly, one of the evening’s highlights.

The arrival of Italian only enhances the experience. Puccini’s charming Sogno d’Or and Mascagni’s Ave Maria from Cavalleria Rusticana deliver equal enchantment. Yoncheva’s voice becomes richer and more luminous, with tones as radiant as the golden gown she dons midway through the recital, after already stunning in a long, flowing red dress. Her Pie Jesu by Andrew Lloyd Webber, recited with impeccable liturgical fervor and exquisite mezza voce, is nothing short of spellbinding.

And Spanish? It’s not forgotten, hombre! The program, featuring many other Christmas songs (including Irving Berlin’s timeless White Christmas), also includes a nativity carol from Honduras: Arru, Arrurrú. What does it mean? Who cares? Its charm lies in its traditional melody, performed like a fireside lullaby with perfectly rolled R’s.

And so, Christmas and New Year’s are celebrated in many languages—even German and Bulgarian, with an unmissable rendition of the famous Stille Nacht. A concert like a true voyage, enriched by the contributions of the Royal Opera of Versailles ensemble. The five choristers shine with their evident camaraderie, resonant voices, and the way they connect through glances to sing in perfect harmony. The musicians, too, are dedicated accompanists and remarkable soloists, like the cellist playing with such gusto that her bow hairs fray. And then there’s conductor Stefan Plewniak, whose energetic direction matches his striking look (leather pants and cape), drawing the most expressive nuances from his musicians, like the Intermezzo from Cavalleria Rusticana, rarely performed in such an intimate chamber version.

These artists, after a final Ave Maria encore, are warmly thanked by the audience with the ultimate shared language: thunderous applause.”
Pierre Géraudie, Classykeo

“Sonya Yoncheva’s Royal Christmas

For any renowned opera singer, performing a recital of Christmas arias is almost a rite of passage. The results can vary: some, like Anne Sofie von Otter in her highly successful Home for Christmas, bring a local touch to traditional classics; others, like Roberto Alagna or Juan Diego Flórez, incorporate their own compositions into their programs; and still others, like the jazzy Renée Fleming, embrace the delights of crossover without hesitation. In a Versailles evening recorded by France Télévisions, Sonya Yoncheva strikes a particularly happy balance among these approaches. The solemnity of the venue dictates the tone of the first half of the concert, which honors works perfectly suited to the grandeur of the Royal Chapel’s vaulted ceiling.

The previous evening, Handel’s Messiah was performed in the same venue, and Yoncheva begins her recital with “I Know that My Redeemer Liveth.” This piece offers the Bulgarian soprano a chance for a gracefully restrained opening and serves as a poignant reminder of her early musical roots in baroque repertoire. Though her lush, powerful voice naturally drew her towards romantic heroines, Yoncheva’s sumptuous vocal timbre and remarkable projection fit Handel’s language effortlessly, as if revisiting a cherished homeland. The mood shifts with the neo-Gothic tones of “Repentir” from Gounod’s Messe solennelle de Sainte-Cécile, but Yoncheva’s fervor remains unchanged. The first half concludes on two verismo notes, with Puccini’s rare “Sogno d’or,” a melody composed in 1912 that he later reworked into La Rondine, and the Ave Maria from Cavalleria Rusticana, which here feels more meditative than operatic. (…)

After intermission, the program takes on a lighter tone, though it begins with another religiously inspired piece: Andrew Lloyd Webber’s Pie Jesu. For this duet between soprano and child soprano, Yoncheva is joined on stage by Isaure Brunner, the daughter of the venue’s director, whose promising vocal control and projection shine. The audience is treated to Irving Berlin’s “White Christmas” in a slightly saccharine orchestration, and Adam’s “Minuit Chrétien,” where Yoncheva skillfully avoids kitsch, allowing the natural hues of her richly colored voice to take center stage. A Honduran carol delays the inevitable “Stille Nacht, heilige Nacht” for a little longer, before the evening wraps up with jubilant encores: Schubert’s Ave Maria and a charmingly candid rendition of “Petit Papa Noël,” with the audience joining in for the chorus.

The success of the evening owes as much to Sonya Yoncheva’s natural charisma as to the dynamic energy of her musical partner, Stefan Plewniak. From the opening “Joy to the World,” Plewniak propels the orchestra and choirs of the Opéra Royal with vitality and musical integrity, shining especially in a duet with his concertmaster during a brilliant Corelli concerto. As the audience leaves the Royal Chapel with smiles on their faces, they don’t feel overwhelmed by saccharine indulgence as they head off to their holiday celebrations. The evening’s mission is accomplished!”
Clément Taillia, Forum Opéra

“During this festive season, it’s hard to resist the lure of extreme kitsch, from Christmas hits to outrageously sentimental songs. Yet, the program chosen by Sonya Yoncheva for her Christmas recital at the Royal Chapel of Versailles skillfully avoided this pitfall.

The evening began with a grand opening as the Choir of the Royal Opera performed the traditional “Joy to the World,” showcasing a brilliant sound and remarkable harmony. Under the baton of the spirited Stefan Plewniak, the Royal Opera Orchestra then transitioned to more classical works with Handel’s “I Know That My Redeemer Liveth” from Messiah. It was here that Sonya Yoncheva made her entrance, adorned in an immaculate white gown. The soprano infused her performance with natural expressiveness and meticulous attention to the highest notes, which she delivered with a touch of unexpected fragility yet remarkable breath control. The chapel’s acoustics amplified her velvety timbre, resonating beautifully throughout the venue.

The recital took a different turn with the romantic tones of “Repentir” from Gouemphasizede Solennelle de Sainte Cécile. This romantic style dominated the evening, a realm in which Yoncheva excels. She emphasized the poignant lament of Gounod’s aria and the humility of prayer in the Ave Maria set to the intermezzo from Cavalleria Rusticana. Although a conventional choice, it was elevated by the orchestra’s excellence and the magic of the chapel’s acoustics, which highlighted the intricate sounds of the instruments. These instrumental textures shone particularly in purely orchestral moments, such as Corelli’s exquisite Christmas Concerto and Pachelbel’s iconic Canon, performed at a lively tempo that preserved harmonic beauty without compromising the musicians’ virtuosity. Plewniak, demonstrating his versatility, even joined the musicians on violin.

The evening also featured unique pieces such as Puccini’s Sogno d’Oro lullaby and the traditional Arru, Arrurru, blending soprano and choir in delightful harmony. In Andrew Lloyd Webber’s Pie Jesu, Yoncheva’s voice melded gracefully with that of Isaure Brunner, while Adolphe Adam’s Cantique de Noël, sung in both French and English, added a further touch of tradition. Yoncheva’s impeccable diction was especially notable in this piece. No Christmas recital would be complete without Mohr’s Stille Nacht, delivered here with grandeur rather than gentleness, highlighting the choir’s rich timbres.

The Versailles audience was then treated to Irving Berlin’s White Christmas, alternating between solemnity and playfulness while remaining thematic. The orchestral arrangement skillfully avoided any overly nostalgic excess. (…) Yoncheva closed with the unexpected Petit Papa Noël, popularized by Tino Rossi, leaving the audience with a nostalgic smile as they exited the hall.”
Ivar Kjellberg, Première Loge

[Photo by Patricia Dietzi Prin]

Sonya Yoncheva has earned widespread acclaim for her portrayal of Cio-Cio-San in Madama Butterfly at the Gran Teatre del Liceu of Barcelona. Critics praised her performance as “exceptionally meritorious” (Ópera Actual), highlighting her vocal brilliance, emotional depth, and commanding stage presence.

Here is what the reviews say:

“Seven minutes of applause and great admiration from the audience for the Bulgarian soprano.
Butterfly waits and waits. Sonya Yoncheva sings “Un bel dì vedremo”, beautiful, with character and with that touch of Slavic iciness. She spends three years in poverty, refusing other offers of marriage, secretly raising the son she had and who will be the only reason of interest for the lieutenant to reappear – with his American wife – to take him away. Cio-cio-san has gone so far in surrendering his honor that he can only foreshadow his own death.
“God, what a weeper!” said the neighbor in the stalls seat. Yoncheva reveals herself as a great actress… . Already from the second act, the sum of the soprano, the libretto and the score – handled by maestro Paolo Bortolameolli in detail and perhaps with a more American than Italian approach – is an exponentially increasing catharsis.
When she brings out the child… there you see that Puccini has you in his hands, that you are going to succumb”, said another high school student with a tear on her cheekbone. Puccini has everything under control, he knows what the heroine’s destiny was and leads the audience to the scaffold. A John Williams avant-la-lettre, judging by how the orchestra sounded, with the ability to tame the emotions of the spectator.”
Six minutes of final applause gave a Liceu with 98% occupancy. They roared for Yoncheva…”
Maricel Chavarría, La Vanguardia

“The Bulgarian diva was the big winner of the revival of Madama Butterfly to the Liceu on 9 December, with fifteen performances and three excellent casts, in commemoration of the centenary of the composer’s death.
Pablo L. Rodríguez, El País

“Sonya Yoncheva’s voice gave Cio-Cio San personality and temperament, and she overcame the multiple obstacles of this complex role without any problems.”
Pablo Meléndez-Haddad, El Periódico

“Sonya Yoncheva is a soprano with an incisive timbre and an expressiveness of electric voltage in the moments of greatest dramatic intensity”
Jaume Radigales, Ara

“Sonya Yoncheva is an intense soprano”
Imma Merino, El Punt Avui

“Bulgarian soprano Sonya Yoncheva delivers a very convincing portrayal of the young geisha. Acting-wise and musically. The Violetta of La traviata is always spoken of as a paradigm of the vocal and scenic evolution of a protagonist throughout an opera, but it is not very far, in reality, from Puccini’s Butterfly. If the former requires three different sopranos to sing it in two different acts, the Japanese opera would require the experience not of three different instruments but of three different ages of life. The discovery of the other, the discovery of herself, the acceptance of the destiny to which she has been unjustly condemned. A tremendous tour de force that Yoncheva faces with an instrument of beautiful timbre, large, with enough power to easily overcome a grandiloquent and swollen pit, and a well-placed low register. Butterfly’s portrayal found in Yoncheva’s drama the most proper expression. Thus, her most moving moments came in the second act, after her famous aria, as well as in the third, whenever the protagonist referred to her own death.”
Gonzalo Lahos, Platea Magazine

“… The great success of the evening was due to soprano Sonya Yoncheva, who offered an exceptionally meritorious Cio-Cio-San, with an outstanding projection, a very beautiful timbre, a round and homogeneous voice, and a tremendous interpretation of the character. She was the most applauded, and by far, by a devoted audience…”
Fernando Sans Rivière, Ópera Actual

“In her return to the Liceu, the Bulgarian soprano Sonya Yoncheva gave a Cio-Cio San of great dramatic depth”
Javier Pérez Senz, Scherzo

“With him (the conductor,i.e.), the great star of the cast: Sonya Yoncheva, who got stronger and stronger throughout the performance and ended up being the catharsis we all expected. She has a refined timbre (…) and a very refined projection resistance, and although she was restrained in the first act, from the second, she developed a demeanor more inclined to the emotional, the last chapter being undoubtedly her highlight, an episode where she exploited her lyrical resources.”
Maria Sánchez, Bachtrack

“In this production, soprano Sonya Yoncheva shines in the role of Cio-cio-san, a young geisha caught between love and betrayal. Her rendition of “Un bel dì vedremo” is a climactic moment that evokes both hope and despair in her character. Throughout the performance, the audience witnesses the transformation of Cio-cio-san, who, after being abandoned by Lieutenant Pinkerton, is confronted with the harsh reality of her life. Yoncheva’s performance, along with that of tenor Matthew Polenzani, who plays Pinkerton, creates a palpable emotional tension that keeps the audience on the edge of their seats.”
Actualidad.es

“Sonya Yoncheva was outstanding in the leading role, Cio-Cio-San, who gave us a meticulous, well-balanced, and polished performance of a character full of innocence and restrained energy. Thus, Yoncheva received great applause at the end of the performance since she had the privilege of being in the first cast and receiving a great and well-deserved ovation.”
Norman Marsà, En Platea

“It is not easy to give adequate voice to these three women who live inside Cio-Cio-San and who together make up one of the most exhausting roles in the repertoire. Bulgarian soprano Sonya Yoncheva rose well to the challenge, (…) in the third she managed to give weight and transcendence to the singing and then reached her best performance.”
Xavier Pujol, Opera-Online

“… there were moments of great tragic intensity such as “Con onor muore “prior to the harakiri performed by the protagonist, which left us speechless and in the territory of convulsion.”
Oriol Pérez Treviño, Nació

“This evening the protagonist was Sonya Yoncheva, a soprano of convincing volume and vocal color….”
Federigo Figueroa, Operaworld.es