|Staatstheater Kassel – Don Giovanni – DONNA ANNA
|For Ralitsa Ralinova as Donna Anna , passionately flaunting with her powerful soprano voice, secure in the high registers, the setting meant a „challenge“ particularly in „ consideration of the musical balance and the long distances“. She likes the idea of “the audience being so close and being able to truly see our emotions without the usual distance.”
|OPERNWELT 2/24 , Wolfgang Schreiber
|In spite of these restrictions the ensemble was able to convince both vocally and with dramatic commitment: among the women above all Ralitsa Ralinova as fairly self-confidently gripping, ambiguous Donna Anna.
|Ralitsa Ralinova is a wonderful and vocally perfectly clear Donna Anna, both in the dramatic and lyrical passages.
| In this production all three women have a mighty energy and penetrative power in their throats. Above all Ralitsa Ralinova as a highly self-confident Donna Anna.
|Ralitsa Ralinova gibt die Donna Anna mit feinem, sehr ansprechendem Timbre und nicht minder überzeugenden leidenschaftlichen Ausbrüchen.
|Staatstheater Karlsruhe – L’ultimo sogno – VIOLETTA VALERY
|A real experience and the guiding star of the evening was the soprano Ralitsa Ralinova as Violetta. One can really compare her with the great female singers – the native Bulgarian delicately guides her voice into vibrato, but on the conductor’s nod, she immediately becomes very eruptive. Moreover, she possesses something that can’t be learned - charisma.
|Wuppertaler Bühnen - La Traviata - VIOLETTA
|Deep admiration for Ralitsa Ralinova as Violetta Valery. The natural born Bulgarian soprano met all the requirements of this role, which is one of the most demanding of the soprano repertoire. In order to give even the opera debutants an insight into the required skills, here we present you a list of the demands to the soprano part:
- Huge range: you need a huge range of about three octaves, including high and deep notes. Ralitsa Ralinova is able to sing high notes such as a top C oder B but also lower notes such as a deep G oder F.
- Dynamics and control: broad dynamics and voice control are needed. The singer succeeds in giving an authentic presentation of both gentle, soft tones and loud and powerful ones and using them in the interpretation of the music.
- Expressiveness and verve: the role requires a huge emotional range and expressiveness. The soprano seems to be able to express different emotions such as love, passion, despair and sorrow without any effort and convey these feelings with her voice in a most authentic and touching way.
- Virtuosity: high technical skills and virtuosity allow her to cope with the rapid and masterly singing figures and coloraturas of the score.
- Resilience: Last but not least a huge resilience is needed. Ralinova is present on stage during almost the entire opera and has to bring an intense singing and acting performance.
All in all, the role of Violetta Valéry requires an extraordinary voice, which is able to master a broad range of emotions and techniques and at the same time show a huge artistic sensitivity and expressiveness. The charming soprano succeeds so with bravura
|Historische Stadthalle Wuppertal - La Traviata - VIOLETTA
|... above all Ralitsa Ralinova in the title part, who truly seems to live through the role of Violetta. In the first act, as she meets Alfredo, she exudes a sheer zest for life. With all her force, she joins in the famous drinking song . Yet the first signs of Violetta‘s illness cannot be disguised and Ralinova splendidly performs these fluctuations. In the following Cabaletta "Sempre libera degg'io" she scores with crystal-clear coloraturas and brilliantly sung heights. Also in the second act, she makes the audience go through an emotional rollercoaster. Her happy life on the country-side is disturbed by Alfredo’s father Germont, who in the end can convince Violetta to give up her own happiness out of consideration for Alfredo’s family. One feels great compassion with her at the ball, when she is humiliated by the society in front of Alfredo. Extremely touching is also the third act, in which the terminally ill Violetta realizes that she has but a few hours left to live. Ralinova’s interpretation of the great farewell aria "Addio, del passato" gets under one’s skin. In the spoken passages, she is absolutely fragile.
|Both protagonists leave nothing to desire, above all the soprano. In her role debut she sensitively portrays the emotional states of the courtesan, infected with tuberculosis. Due to her well-balanced, strong voice, which is relaxed even in the highest registers and her pure coloraturas, her arias sound thrillingly brilliant. Especially her dying scene is heartrendingly touching.
|Wuppertaler Bühnern - Julius Cäsar – CLEOPATRA
|But the utmost praise is due to Ralitsa Ralinova in the role of Cleopatra; with enormous energy and a lushly brilliant voice.
|One would like to hear more from the ensemble and the Wuppertal Symphony Orchestra under the musical direction of Clemens Flick. Ralitsa Ralinova as Cleopatra fills the entire hall with her brilliant soprano voice and her sparkling high notes. Also visually, she is the ideal cast for the role of the seductive Egyptian princess. Crystal-clearly sounds her aria "V'adoro, pupille", as Cleopatra seduces with her feminine charms, beguiling not just Cesare with her interpretation. She also clearly shows the claim to power, as she ascends the stairs and majestically takes a seat . Another musical highlight is her interpretation of the famous aria "Piangerò la sorte mia", with which the performance in Wuppertal ends. Here, Ralinova presents the Egyptian Queen as a broken woman, who has lost all hope.
|Online Musik Magazin
|Ralitsa Ralinova dominates in the huge part of Cleopatra with a powerful, secure soprano voice.
|It was clear to see that every singer took great pleasure in finally singing in front of an audience again. Not just each tone was perfect, but also every gesture and each facial expression. Each and every singer gave an absolutely homogenous singing and acting performance, especially Ralitsa Ralinova, who played the capricious Cleopatra. Every vocal phrase was congruent with gestures and expression.
|Deianira / Das Kulturportal
|Opernhaus Wuppertal – L’elisir d’amore - ADINA
|Whether Sangmin Jeon’s “Una furtiva lagrima” or Raltisa Ralinova and Sebastian Campione’s “Io son ricco et tu sei bella”: it wouldn’t be fair to highlight any individual performance, as each and every singer was absolutely excellent to the delight of the audience.
|Opernhaus Wuppertal – Le Nozze di Figaro - SUSANNA
|Ralitsa Ralinova as Susanna, who always guarantees spirit and vivacity on stage in Wuppertal.
|Ralitsa Ralinova’s Susanna seemed a bit more earth-rooted, but she is also a first class Mozart interpreter.
|Online Merker, Christoph Zimmermann
|Opernhaus Wuppertal - JULIETTA
|The versatile singer Ralitsa Ralinova, whose interpretation of Gilda we have still in mind, played the title role. With her yourhfully freh soprano voice she convincingly succeeds in navigating between dream and reality, making psychic secrets palpable.
|Ralitsa Ralinova's fairylike soprano voice excellently suits the title figure.
|Ralitsa Ralinova in the title role has a soft, girlish soprano voice which even seems to emphasis Julietta's sirenlike character.
|Online Musik Magazin
|With a beautiful voice and an elegantappearance Ralitsa Ralinova played the nymphe with her oversized mane of curls, her elegant clothes and the sought-after lover. With mellifuous, seducing singing she created beautiful accents.
|Opernhaus Wuppertal – Hänsel und Gretel - GRETEL
|...and Ralitsa Ralinova with her playfully light soprano as Gretel.
|Opernglas 2/2018 , E.V. Gerke
|Ralitsa Ralinova’s play was also fun. The soprano, who already convinced as GILDA turns Gretel into a charming, girlish character. Moreover, her singing is exemplary and certain in the upper registers
|Der Neue Merker (01/2018) - Christoph Zimmermann
|…and the soprano Ralitsa Ralinova alias Gretel, who apart from her excellent acting also succeeds in granting the main character every possible vocal benefit.
|Ralitsa Ralinova sings Gretel with a sweet, innocent soprano voice...
|The singing was just fabulous: One can hardly imagine a better cast for Hänsel and Gretel as Catriona Morison and Ralitsa Ralinova with their young, exuberantly brilliant voices.
|Vereinigte Bühnen Wuppertal –Rigoletto - GILDA
|The same goes for Ralitsa Ralinova, who emphasizes Gilda’ schizophrenia with nervous gestures and yet sings with enchanting sweetness and brilliant staccati.
|Der neue Merker Christoph Zimmermann 05/17
|Wuppertal Opera House- Don Giovanni - ZERLINA
|Ralitsa Ralinova and Damien Pass as Zerlina and Masetto made a vocally and actingly convincing performance.With her youthful soprano voice, Ralitsa Ralinova gives the peasant girl a naive simplicity, as she ist taken in by Don Giovanni's courting Then again she plays the role with coquetry, as she succeeds in calming her jealous broom.
|Bamberg Summer Opera - Don Giovanni - ZERLINA
|'Ralitsa Ralinova (Zerlina) brought her gracious soprano voice into play (like in „Batti, batti, o bel Masetto“ and in the mincing duet with Don Giovanni, „Là ci darem la mano“)...'
|'Is it possible to even more seducive as the greatest seducer? It is! Ralitsa Ralinova as an artistivcally overwhelming Zerrlina made prove of it in the premiere on Saterday at the bamberg Summer Opera. Ralinova's refined, continually intense and technically ideal focussed voice enthralled just as her souvereignity as an actress . Compared to her, even the Jiri Rajnis in the title role faded somewhat. I think Ralinova is in for a great carreer.'
|Wuppertal Theatre - Alice in Wonderland - Alice
|Ralitsa Ralinova 's huge soprano voice and her sweet portrayal of Alice earn much acclaim... "