ADAMO
Lysistrata, Aphrodite / Charito / Tisiphone
Lysistrata, or the New Goddess, New York City Opera, 3/21/06
"...In these days of economically-driven minimalism, Adamo's casting scale is refreshing: there were seventeen solo singers, some doubling small roles. And his idiom is undeniably 'singable.' City Opera showcased its considerable resources, with particularly nice work from soprano Amanda Borst (Xanthe), Jennifer Roderer (a spirited, sonorous Sappho) and two debutants—pure-toned soprano Arianna Zukerman (triple cast, notably as Aphrodite) and tenor Dinyar Vania (Meleagros)."
—David Shengold, Opera News in Review, New York City
BEETHOVEN
Fidelio, Marzelline
Andrew Litton, Minnesota Orchestra
"Fidelio is [the] work that Andrew Litton conducted before an enthusiastic, capacity crowd Saturday night at Orchestra Hall, the finale of the Minnesota Orchestra's Sommerfest...the orchestra, playing at the top of its form Saturday night, had engaged some very fine singing actors for this performance, as well as the always accomplished Minnesota Chorale...this was an impressive performance, one highlighted by commanding, fervent singing from the evening's Florestan, tenor Clifton Forbis, and the Leonore, soprano Christine Brewer...The rest of the cast was strong, too, starting with Arianna Zukerman's charming Marzelline, which offered a bigger voice than we usually hear in this role. "
— Michael Anthony, Star Tribune
BIZET
Carmen, Micaela
Andrew Litton, The Dallas Symphony Orchestra
"The Dallas Symphony Orchestra concluded its seventh annual residency at the Bravo! Vail Valley Music Festival on Saturday with an impassioned concert version of Bizet's Carmen, conducted by music director Andrew Litton... In the title role, mezzosoprano Angela Horn was every inch the seductive, devious temptress. Looking the part of a svelte and heartless gadabout, Ms. Horn riveted the attention with provocative acting and a rich, husky vocal timbre. Her spirited and haughty disposition in the familiar habanera was brilliantly foiled by the equally radiant Arianna Zukerman, whose plangent soprano embodied the sweet and demure Micaela."
— Sabine Kortals, The Dallas Morning News
BRITTEN
The Turn of the Screw, Governess
Jane Glover, Chicago Opera Theater
"At the center of all this, soprano Arianna Zukerman invested the Governess' mounting apprehension with a shining, voluminous soprano…"
— John von Rhein, The Chicago Tribune
"The sheer sound of the voices Wednesday night, especially Zukerman's Governess and those of two children, Miles and Flora…underscored the disturbing, off-kilter atmosphere that saturates Britten's score.
As the Governess, Zukerman's clear, crystalline soprano had both a hysterical edge and a touching fragility.…every fierce vocal leap, each staccato, short-breathed flight took us inside her tormented psyche. Zukerman is a thoughtful presence onstage, and through her expressive eyes as well as her agile voice, we could almost see her character evolving from an uncertain young woman to an adult determined to face her own fears."
— Wynne Delacoma, The Chicago Sun-Times
"COT's truly heart-pounding production features not only a richly symbolic vision (one that can turn a playground into a graveyard with a mere shift in tone) but exquisite performances—namely soprano Arianna Zukerman as the agitated, over-protective Governess…"
"Arianna Zukerman was a quirky, doe-eyed Governess, on the verge of nervous breakdown. Her lovely voice had the breadth of dramatic inflection to make for a powerfully effective performance."
— William Shackelford, OPERA
"Arianna Zuckerman brought plenty of lyric tone to the Governess, some pressure in the timbre suggesting the hysteria central to the character…[an] attractive performance.…"
— Mark Thomas Ketterson, Opera news
JEAN-MICHEL DAMASE
Ochelata's Wedding, Wilma
Ransom Wilson, OK Mozart Festival
"Damase's lyric gift is most evident in such numbers as Wilma's Act 1 arietta 'Oh Father,' movingly sung by soprano Arianna Zukerman…"
—Joseph Kestner, Opera news
DONIZETTI
Élisabeth, Nizza
Will Crutchfield, Caramoor Festival
"Will Crutchfield's Bel Canto at Caramoor series presented its most successful staging yet in mounting two performances of the Donizetti rarity Crutchfield rediscovered and has pieced together into a performing version…Crutchfield's international cast performed strongly, with apt and fluent style, and the whole venture garnered happy ovations…Arianna Zukerman offered a pure lyric soprano and a fair dose of genuine soubrette charm as Nizza."
"…Donizetti['s]…Elisabeth, ou La Fille de l'Exilé (Elizabeth, or The Exile's Daughter)…received what is believed to be its French-language world premiere at the Caramoor Festival (July 17, 2003)… Caramoor's cast (seen July 19) included some of today's most promising bel canto specialists…Smaller roles were ably sung…[including] Arianna Zukerman (a bright-voiced Nizza).
—M. Lignana Rosenberg, Opera news
GLUCK
Orfeo ed Euridice, Euridice
"..glorious support from soprano Arianna Zukerman, who imparts drama via contrasting dynamics as Euridice."
—Nikki C. Hasden, Chattanooga Times Free Press
HAYDN
Die Jahreszeiten, Hannah
Jane Glover, Music of the Baroque
"Music of the Baroque has always been a potent ensemble, growing considerably more so since Glover's tenure. Impressively, this opening concert of the season at the First United Methodist Church in Evanston found them at a still higher plateau. Its strings sang with the precision of a world class orchestra, the brasses were delightfully raucous, and the choral forces dove into their assignment with unconcealed relish...
...The plot, such as it is, flowed from the lungs of Hannah (Arianna Zukerman), Lucas (Shawn Mathey), and Simon (Nathan Berg). Zukerman's high notes rang with depth and clarity, while tenor Mathey's hushed, affecting intonement of a frozen lake was chilling. The most complete artist-singer was baritone Berg, who fully inhabited a dizzying array of scenarios."
—Michael Cameron, Chicago Tribune
MENOTTI
The Consul, Anna Gomez
Joel Revzen, Berkshire Opera Company
"…the voice of Arianna Zukerman shone with exceptional promise"
—Richard Dyer, The Boston Globe
MOZART
Così fan tutte, Despina
Joel Revzen, Arizona Opera
Ariz. Opera's 'Così' a sweetheart of a production
"Mozart's 1790 opera about the maturation of romantic love requires a no-fuss production that gets at the heart of the story, and a cast that sings well without getting in the way of the characters. It needs exactly what Arizona Opera has given it in the Cosè that opened over the weekend at Orpheum Theatre...Like almost all Arizona Opera productions, this Così is double cast, so I can attest only that but Sunday's singing, at least, was at the highest levels...Arianna Zukerman's Despina was the comic embodiment of the production. Some Despinas attempt to be figures of feminine wisdom, but Zukerman's is an out-and-out, go-get-'em hedonist with more than a touch of the cynical, clearly happy to be a cheerleader for the innocent sisters in their chance to taste the forbidden."
—Kenneth LaFave, The Arizona Republic, Jan. 11, 2005
Playful Arizona Opera "Così fan tutte" Doesn't Skimp on Musicality
"Così fan tutte's" stark, minimalistic scenery, mostly in white or unpainted wood, was a progressive treatment for Arizona Opera's new production...[It]...resulted in a well-sung and light-hearted version...The singing was something wonderful. I saw one of the alternating casts but there wasn't a bad performance...The two comic roles were standouts. Steven Condy's lighthearted and mischievous Don Alfonso was the model of keeping a straight face while the lovers struggled to figure out his intricate plotting and scheming. Arianna Zukerman had great fun with Despina, and she enjoyed her employers' blind gullibility. She was smitten when she realized she had been manipulated by Don Alfonso. Both sang impeccably.
—Chris Curcio, Curtain Up Phoeniz, Jan. 18, 2005
Don Giovanni, Zerlina
Joel Revzen, Berkshire Opera Company
"Arianna Zukerman is also superb as Zerlina….The shine of Zukerman's soprano has startled in small roles with Berkshire Opera in past seasons; it was good to hear how nicely she is coming along and how her voice is developing—she sounds as if she could be a Donna Anna in a few years. Meanwhile, her Zerlina had vocal poise, elegant control of style and dynamics, and real spunk."
—Richard Dyer, The Boston Globe
"Arianna Zukerman, who has appeared in several BOC productions, gets better all the time. She's a charming and vocally exciting Zerlina…"
—Elyse Dommer, Curtain Up
"…Arianna Zukerman was a delight as Zerlina, the bride who succumbs, not all that reluctantly, to Giovanni's advances."
—Bill Rice, The Daily Gazette
"The rest of the cast also is superb, especially …Arianna Zukerman as Zerlina."
—Herbert Wolff, WAMC Northeast Public Radio
"Arianna Zukerman was a charming and ideal Zerlina—bringing a bright and bewitching soprano voice to the innocent peasant."
—Ron Lee, WBRK Radio
"As Zerlina, the next intended victim of the rakish Don Juan, Arianna Zukerman is both adorable to see and delectable to hear…She sings like an angel and looks like one."
—J. Peter Bergman, The Independent
"Zukerman's Zerlina is sweet and vocally supple, particularly in 'Vedrai, carino,' as she playfully but tenderly consoles her beloved Masetto."
—Phil Drew, The Troy Record
The Magic Flute, Pamina
Robert Bernhardt, Chattanooga Symphony and Opera
"A wealth of fine singers, all skilled in dramatic presentation, made sure that Mozart's sensuous vocal music, which was sung in English, was treated with either the great dignity or infectious humor the passages demanded...Suitably matched and delivering some of the most exquisite love music ever written were tenor Chad Freeburg as Prince Tamino, warm and tender of voice and demeanor, and elegant soprano, Arianna Zukerman, who gracefully scaled a wealth of emotions as a distraught and loving Pamina."
—Chattanooga Times Free Press
"Arianna Zukerman, playing Pamina his love interest, brought a powerful and rich soprano voice to a role that had to compete with kids dressed up as forest animals hopping around during her 'I'm going to stab myself because I've lost Tamino's love' aria (but who couldn't love that darling kid in the turtle outfit lumbering across the stage)."
—Mel R. Wilhoit, The Chattanoogan.com
The Marriage of Figaro, Susanna
"John Kuether in the title role of Figaro and Arianna Zukerman as his fiancée, Susanna, led the cast…and her Susanna had a quick wit and radiant smile. Her clear, powerful soprano voice took on added color and richness in the sensual fourth act aria, "deh vieni, non tardar." While charming everyone in the cast and the audience, Susanna maintained her honor against the lustfull advances of her master, the Count…And in this performance, Zukerman—daughter of a world-famous violinist and a world-famous flutist—more than maintained the honor of her illustrious musical family."
—Philip Marcus, Times newspapers
The Marriage of Figaro, Barbarina
Joel Revzen, Berkshire Opera Company
"…there is a gorgeous quality in her voice—this Barbarina could well become a Countess…"
—Richard Dyer, The Boston Globe
"The minor player to watch, as in watch-this-rising star, is soprano Arianna Zukerman, whose Barbarina makes an otherwise too-long fourth act forgivable."
—Elyse Sommer, Curtain Up
PUCCINI
La Boheme, Musetta
La Boheme in concert with the Philadelphia Orchestra (Mann Center)
Rossen Milanov, conductor
Fine Young Bohemians
"Arianna Zukerman, in a satiny aqua gown and empress necklace, struck into an instant diva deportment as Musetta. Her animated vocal detailing was rowdy and vocally daring."
—Lewis Whittington, The Bulletin
La Boheme, Musetta
La Boheme in concert with the Philadelphia Orchestra (Bravo! Vail Valley Music Festival)
Rossen Milanov, conductor
This Puccini all about the singing
"Arianna Zukerman acquitted herself admirably as Musetta, delivering a nicely shaped Waltz..."
—Marc Shulgold, Rocky Mountain News
VERDI
Falstaff, Nanetta
Fiora Contino, Opera Illinois
"Falstaff comes with some first-class singers, including soprano Arianna Zukerman and bass-baritone Jan Opalach, a frequent guest of the New York City Opera, who makes his debut here in the title role….Zukerman as Nannetta and tenor Gerard Powers as Fenton turn in some radiant performances…"
—Gary A. Panetta, The Journal Star |
