Press

“Soprano Sonya Yoncheva, a shining voice that gives light and character to the protagonist.”
Gregorio Moppi, La Repubblica

“The cast is good, dominated by diva Sonya Yoncheva… . a voice that expands as it soars to the top, beaming high notes, a beautiful legato even in thorniest phrases, a remarkable stage presence.”
Alberto Mattioli, La Stampa

“As a whole the cast was effective and dominated by Sonya Yoncheva, unrivaled thanks to her beautiful timbre, intense accent and sincere emotion.”
Giuseppe Rossi, La Nazione

“Sonya Yoncheva has been championing the role of Stephana, which she had already performed in concert. Her voice, characterized by an amber tinged timbre we already know so well, indeed perfectly matches the tessitura of the role, highlighting a full-bodied middle register and soaring high notes in a first-class vocal structure. The soprano performs a good entrance with the arioso “Che l’amante mio giammai”, with which she defines a passionate and sensual character. Her performance however truly takes off from the second act duet, when she becomes more impetuous and feminine both in her accents and in her acting.”
Filippo Antichi, Connessi all’Opera

“Sonya Yoncheva (at her debut in the title role) is a prestigious soprano”
Redazione, Lo Spettacolare

“… the presence in the cast of a superlative Sonya Yoncheva (Stephana), whom we had already appreciated last year as Violetta, in a concert-form summer Traviata. The Bulgarian soprano’s vocal and interpretative gifts are undeniable and allowed her to take on safely and successfully the impervious tessitura and the particularly difficult arias characterizing this opera”
Valentina Tortolini, Il reporter

“The true protagonist, a sort of a cross in “Russian sauce” between Violetta and Manon, was Sonya Yoncheva as Stephana. The part doesn’t present her any difficulties whatsoever, tough the orchestra impetuously tends to cover the voices. She also has a very good low register and is able to convey the character’s evolution with a determination flowing out in a deep theatrical truth in the final act.”
Andrea Merli, I Teatri dell’Est

“Sonya Yoncheva as Stephana is undoubtedly luxury casting, gifted with a vocal instrument that excels for its vibrant nature and technical flexibility; here she passes from a lyric repertoire to a more dramatic caliber, and this is beneficial to a more moderate and refined tuning of the reading of this score; her commitment is manifest… .”
Francesco Lora, L’ape musicale

“The Bulgarian soprano displays her well-known polished middle register, rich, full-bodied and amber-tinged, able to greatly expand its sound, which, matched with an uncommon personality, proves to be ideal to give life to a character driven by passion. … a first-class interpretation well suited to the style of the opera.”
Fabrizio Moschini, OperaClick

“Sonya Yoncheva’s Stephana undoubtedly stands out in the cast: a good stage presence but above all a well-developed vocal instrument perfectly suited to the difficult tessitura of the opera, a good declamation and soaring high notes. A true primadonna… .”
Domenico Del Nero, Totalità

“… though on stage there are remarkable voices. Such is at least the voice of Sonya Yoncheva, not the typical “Verismo” singer, but an interpreter of great personality, as Stephana, “the beautiful Oriental woman”. The Bulgarian soprano, who passed from Handel and Monteverdi to Verdi and Puccini, is going to make her debut as Fedora, another Giordano Russian seductress, at the Teatro alla Scala next year. Here, in addition to a beautiful timbre and easy high notes, she also displays a fine diction and a magnetic stage presence.”
Opera in casa

“But Sonya Yoncheva shines the most: whenever she is convinced (because this seems to be a her own personal and Noseda’s battle waged in favor of Siberia), whenever she manages to establish with the pit a tight and deep relationship, she emerges vocally luminous, and the music takes off making sense of such an operation.”
Carlo Lei, Doppio zero

[Photo by Michele Monasta]