soprano
Reviews
The New York Times
"In the excerpts from "Tosca", the soprano Irina Rindzuner brought her powerful voice and impetuosity to the title role."
"Ms.Rindzuner's fearless account of the daunting aria In Questa Reggia from Turandot earned her
a rousing ovation."
- Anthony Tommasini
New York Classical Review
"Rindzuner, an American soprano, has an instrument of considerable size and thrust, but also of great beauty. Her classic elegance summoned the spirit of the great Russian soprano Galina Vishnevskaya, who sang in the first performances of the work in Moscow.
Rindzuner’s spot-on pitch and vocal placement combined with the tolling of bells for a spine-tingling effect."
(review of Irina Rindzuner's performance as soprano soloist in Shostakovich's Symphony no. 14 in Merkin Hall on Feb 24, 2024)
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New York Post
"Soprano Irina Rindzuner offers a creamy, sensuously sung and eloquently acted account of the lovely but fickle Manon."
- Clive Barnes
The Salt Lake Tribune
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"Rindzuner's voice bloomed with luxurious, emotive singing, finally fleshing out a character that had remained rather one-dimensional until this climatic moment."
El Mercurio
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"La soprano rusa Irina Rindzuner fue una eficaz y segura Turandot, en especial durante In questa Reggia y el planteamiento de los enigmas. Su voz, de rara belleza y personalidad, es una lama en el agudo, y solvente en centros y graves. De volumen considerable, no tuvo problemas para sobrepasar la masa orquestral y el coro."
"...privilegiado instrumento..."
Der Neue Merker
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"Dass der Premierenapplaus dann doch seine Berechtigung hatte, war
einzig und allein der Sopranistin Irina Rindzuner zu verdanken. Schon
die ersten Töne ließen einem das Herz stehen bleiben und erzeugten
Gänsehaut. Irina Rindzuner ist eine vortreffliche Abigaille. Ihre Stimme
verfügt über eine satte, dunkle und wohlklingende Tiefe, eine
exzellente Mittelage sowie über eine schier ins Unendlich gehende,
wunderbar silberig klingende Höhe. Ihre Stimme verbindet
Jugendlichkeit mit Dramatik und besitzt dabei die für die Rolle
erforderliche Stimmagilität. Ihrer stimmlichen Darstellung liegt eine
Kultiviertheit aber auch eine fast bedingungslose Leidenschaft
zugrunde, die den ganzen Körper des Zuschauers zu einem einzigen
Hörorgan werden lässt – Toll!!!!"
Unser Lübeck
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"Großen Anteil an der musikalischen Qualität hat die gebürtige Russin Irina Rindzuner, ein welterfahrener dramatischer Sopran, der als Katarina ein erstklassiges Rollendebut gelingt. Glaubhaft gibt sie eine handfeste junge Frau, die ihr Leben vergeblich zu gestalten versucht. Den schweren, äußerst fordernden Part bewältigt sie bewundernswert, vom Beginn mit ihrem Monolog über die Langeweile bis hin zum Lebensresümee." -Von Arndt Voß
The Utah Statesman
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"But it is the strength and seemingly effortless power in Rindzuner’s voice that carries the show. She ends up being the major reason to see Manon Lescaut." - Jay Wamsley
Star Tribune
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"As Turandot, Russian-born soprano Irina Rindzuner rose easily above the tumult; her voice was appropriately hard-edged in the second act, rounder in the third."
- Larry Fuchsberg
Cape Cod Times
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"Soprano Irina Rindzuner was both convincing and vocally stunning in her portrayal of the merciless princess Turandot, an unsympathetic role that, despite her sudden change of heart at the end of the opera, never quite manages to endear the singer to an audience. (Puccini was aware of this pitfall, and had he lived to complete the opera himself, would probably have resolved it.) A recent addition to the Metropolitan Opera Company roster, Rindzuner has full command of her vibrant, penetrating voice and skillfully paces herself to unleash the fireworks when called for."
Greenwich Time
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"The musical highlight of the evening came when the orchestra was joined by Irina Rindzuner for "La Morte de Cléopâtre."
Rindzuner impressed us immediately with a beautifully colored voice and legato that doesn't end. She sang the Non, j'ai d'un époux déshonoré la vic" section with a metrically vital rhythmic control, and delivered the recitative misurato conclusion, depicting Cleopatra's suicide, with such unbroken intensity that the instrumental interruptions felt fully integrated into the vocal line. It was an outstanding performance." - Jeffrey Johnson