A soprano that is perfectly suited for Strauss...
Garmisch-Partenkirchner Tagblatt – 27.03.2014


"... and Teodora Gheorghiu the clear winner of the evening. Her Adele had the notes, the look and a nice Viennese pulse.“
Seen and Heard International – December 2013.

"Teodora Gheorghiu displays without any visible effort her youthful charm tinged with cunning. The lower hamonics of her Adele are exposed throughout the whole musical range of her part along with remarkably covered high-notes and a vigorous and lively style in the vocal line. "
Forum Opéra – December 2013.


"Teodora Gheorghiu, undoubtedly one of the greatest sopranos of her generation [...][T]he lovely set of Zemlinsky songs brings out the best in this young singer, her simple, direct approach being ideal for what are essentially sophisticatedly written arrangements of Tuscan folk texts."
Fanfare – 12 october 2014

"If there was such a thing as an Art Nouveau voice, it would certainly be the one of Teodora Gheorghiu."
NZZ – 3 January 2014

"Teodora Gheorghiu, who reveals to be an ideal Strauss singer, interprets the four allegories of [Richard Strauss’s] „Mädchenblumen“ [...] and the „Three Songs of Ophelia“ [...] with a wonderfully flexible and warm timbred voice. [...] The natural impressions of Ottorino Respighi’s "Deità Silvane" complete a recital which equally impresses by the virtue of its repertoire as well as by the intensity of interpretation." Opernwelt – August 2013

"Her new CD speaks in favor of this singer’s artistic autonomy. After an impressive first CD with arias for Anna de Amicis – legendary soprano from Mozart’s times – Teodora Gheorghiu now has released a second “concept“ album apart from the more usual repertoire featuring songs from the turn of the century. In case one shouldn’t know Teodora Gheoghiu yet – the songs are worth being discovered as much as the singer herself."
KlassikInfo – Juli 2013


Arias for Anna De Amicis – Disc of the month
"In this engaging and enlightening disc, the Romanian soprano Teodora Gheorghiu convincingly recreates arias associated with De Amicis from the period 1762-73, including the four arias of Giunia [...]. Gheorghiu’s voice is more iridescent than resonant, occasionally sounding a little whitish, but overall handsome and good to hear. Her singing is forthright and musically alert while avoiding interpretative fussiness. Cadenzas are tasteful and not too long. [...] Gheorghiu delivers with aplomb the rapid-fire staccato scales in Jommelli’s seething „Odio, furor, dispetto“, music that must have impressed Mozart when he heard De Amicis in the opera in 1770 two years before writing Lucio Silla. [...] [The aria] „Parto, m’affretto“, [...] [is] delivered with keen intensity by Gheorghiu. She meets head on the fiendishly difficult coloratura of ‚Ah se il crudel periglio’, endowing it with a dramatic edge. [...] Gheorghiu’s alert singing renders [...] [the three of Giunia’s arias] persuasively. [...] Giovanni Battista Borghi’s melancholy „Tanto avvezze alle sventure“ [...] is expressively sung, and Pasquale Cafaro’s expansive and hugely demanding aria „Se balena il ciel talora“ brings the disc to an invigorating and technically glittering close."
Opera Magazine – May 2012

The recital is a tour de force, extremely demanding of Teodora Gheorghiu’s technique and necessitating the dispatch of swirling flights of crystal-clear coloratura, much of it with rapid roulades, trills and cascades of staccato scales, in the excellent recording, there is no suggestion of shrillness or thinness of tone as she takes on high Cs or a top D. Gheorghiu is more than a soubrette, for in its middle notes her voice has a warmth and a fullness [...]Her singing on this CD should spread her name, for there is some stunning vocalism [...] Right at the start then we are confronted with a truly testing aria, in which the singer has to deal with 15 high Cs, demonstrating at once how exciting is Gheorghiu’s way with such demands. [...] If Myslivecek’s „Basta così vincesti“ has a broad, relatively slow tempo, his other one, „Soprender mi vorresti“, is of a different complexion, requiring the soloist again to career through the coloratura passages with utmost agility, and once more Gheorghiu triumphs with her spirited singing. [...] „Se balena“ from Cafaro’s Antigono is the longest selection: [...] this is truly virtuosic, an aria di bravura, which would challenge any soprano but does not defeat Gheorghiu. Her coloratura remains clear and intact. [...] This is an impressive issue by a small company.
International Record Review, January 2012.

"Like her great model, Anna de Amicis, Teodora Gheorghiu tends a silky vocal instrument: her coloratura staccati are flawlessly articulated........she has a velvety timbre, sometimes a little shadowy, and she sings with a natural vibrato.  In marked contrast to some of her colleagues, she knows how to open up the resonance of her whole body in a way that is totally to her advantage"
Opernwelt, January 2012. 

"Teodora Gheorghiu sings with a pure and magnificent voice – even in accompanied recitatifs.  No wonder she has been shining so many times in coloratura roles at the Vienna State Opera"
Der neue Merker, December 2012. 

"The Romanian soprano combines all at once a breathtaking technique, perfect intonation, and a sonority of fine and expressive tone".

".... a lyrical, engaging, talented and eclectic artist"
Scènes Magazine, November 2011.

A Nightingale at the Opera
"The voice of Teodora Gheorghiu blossomed forth in flowing melancholy.  A few minutes later her lament gave way to scintillating virtuosity, as the young Romanian soprano showered vocal fireworks and dexterities that she appears to make very light work of!  In her first CD.....this artist impresses from the outset with her seductive power, musical intelligence, and the not yet totally mature but tremendously engaging character of her youthful sonority. "
La Croix, 03.11.2011.

"From her first notes..... Mademoiselle Gheorghiu amazes with her vocal assurance, put entirely at the service of an infallible musicality which is not limited just to spectacular brilliance.  The staccatos are all there, illustriously articulated and sung without a trace of hesitation, and these technical feats are for her no more than childsplay.    In Giunia’s arias in Lucio Silla, the penetrating intelligence with which she enunciates the recitatifs, and the truthful realism of the feelings.....are dazzling"
Diapason, November 2011.


"The crystalline voice of this young Romanian shines through effortlessly in the most difficult arias of the repertoire......Her luminous timbre, incontestable virtuosity and vocal ardour made this recital an experience of palpable enchantment"., 30 October 2011 


"Teodora Gheorghiu’s excellences lie not only in the wonderful slenderness and flexibility of her voice, but particularly in the extreme rich diversity of musical expressions and moods of which she expertly disposed during the whole evening. From the first notes onwards, she knew how to inspire into each Lied the particular atmosphere that it corresponds, and demonstrated her strong and always convincing stage presence."
Garmisch-Partenkirchner Tagblatt, 27th September 2011.

SEMIRAMIDE RICONOSCIUTA – Festival International d'Opéra Baroque de Beaune

"As always the case at the Festival International d’Opéra baroque de Beaune, the cast was absolutely first-class... Yet, probably the most enthusing of all was the romanian soprano Teodora Gheorghiu. In each of her entries, she radiated with luminous high-notes, making proof of her exceptional art of legato and an acrobatic ease which are very rare to find. It seems difficult to imagine a better stage cast to re-discover Semiramide riconosciuta, which has not been given for 260 years."
Opéra Magazine, September 2011.

FALSTAFF – Wiener Staatsoper

“Teodora Gheorghiu, a charming and truly lyrical Nanetta.“
 Wien, Kronenzeitung

“Teodora Gheorghiu in her debut as Nanetta is ravishing in voice and stage presence“
Wien, Kurier

“Teodora Gheorghiu......charms with her piano phrasing“
Wien, Die Presse, 12.03.09

L’ELISIR D’AMORE – Wiener Staatsoper

“Teodora Gheorghiu has a fine grasp of the role of Adina. In line with the stage action, her vocal tone varies from the character of a coquette to a more feeling complexion. Her soprano voice shines in its volume and high range and she has a finely assured coloratura.“
Wien, Österreich

“Spectacular! Teodora Gheorghiu seizes her opportunity to portray the coquette in Adina. It is a joy to see this young Romanian artist burst forth on the stage in such shining voice.“
Wien, Kurier, 07.04.2009

“The soprano Teodora Gheorghiu visibly displays her delight with her stage character. As ravishing to the eye as she is to the ear, she knows how to score her foremost points in the highest tessitura of the voice.“
Wien, Kurier

“Teodora Gheorghiu's Adina deserves every bit of her Nemorino – not only because she is such a peach of a girl with a slender willowy figure and charming personality, but also because she sings and acts from the heart.“
Wien, Der Neue Merker, 18.01.2008

„The revelation of the evening was Teodora Gheorghiu who was returning to Vienna after her period in Luzern. Her somewhat nostalgic Adina had great charm – as much in her personality as in her voice. Her decorative singing was perfectly chiselled down to the finest detail, and her voice increasingly shone out in tessitura, strength, luminosity and brilliance. Teodora Gheorghiu has all the qualities of being the the darling of the audience.“
Wien, Österreich, Decembre 2007

LE NOZZE DI FIGARO – Wiener Staatsoper

“Teodora Gheorghiu, singing Barbarina, merits recognition as a major young talent. Already now, she communicates vividly on the stage and possesses a remarkable voice of great expressive range.“
Wien, Magazin Klassik, 24.11.08

DIE FLEDERMAUS – Wiener Staatsoper

“Teodora Gheorghiu made her debut in the role of Adele. Her voice has a scintillating freshness and is richly endowed with gifts, ranging from brilliant high notes to the colours of coquetry.“


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