REVIEWS & MEDIA

Reviews & Media

Reviews

Manon Lescaut

“Patalong looks set for stardom”

it is Patalong in the title role whose resolute soprano impresses most.

She paces herself intelligently throughout the evening, leaving her voice with enough to spare for the demanding final scene.

At each stage of Manon’s development, Patalong explores the complex internal balance of a character torn between the pressing need for money and the longing for true love. Her finely accomplished interpretation represents a further stage in the trajectory of a career that looks set for stardom.

The Stage

the excellent and personable Anna Patalong as Manon showed considerable form in Puccini’s unique brand of vulnerability-withsubstance. She conveyed the headstrong Manon caught between passion and a more pragmatic need for money with great perception, surging into her two duets with Des Grieux, and transcending the awkwardness of the last act. For subtlety and drama, this was quite an achievement

Opera Magazine

La Bohème

Opera Holland Park

Patalong sounds utterly gorgeous.

The Guardian

Patalong sang a gorgeous Mimì‚ her creamy soprano flecked with luscious‚ dark tone. Long phrases caressed “Sì‚ mi chiamano Mimì”‚ claiming the sun’s first kiss of April gloriously. “D’onde lieta uscì” was exquisitely tender as she leaves Rodolfo to return to her little nest.

Bachtrack

Small wonder it’s a triumph...Patalong breaks your heart. She’s a paragon of soprano sweetness and the vulnerability of her immortal aria "Si‚ mi chiamano Mimì" will crease you in two.

Whatsonstage

Patalong’s captured the ardour and fragility of Mimi to perfection. She has a sumptuous‚ richly coloured voice and she brought out the dark timbres of the vocal line in a striking way. There was some gorgeous shaping of the line in Si mi chiamano Mimi while Act 3’s Donde lieta usci was exquisitely tender.

Seen and Heard

Turandot

Northern Ireland Opera

Anna Patalong’s Liu was the best sung‚ most rounded (and‚ it should be said‚ only emotion-inducing) performance of the evening.

Opera Magazine

Anna Patalong was a superb Liù who would certainly be at home in any major lyric theatre. The sound is elegant and velvety‚ absolutely even throughout the range‚ and she floated the end of "signore ascolta" wonderfully.

Opera Traveller

Faust

Dorset Opera

The final trio with Faust and Méphistophéles made the spine tingle‚ and Patalong’s voice spoke of a radiant salvation as Marguerite’s soul ascended to heaven.

Opera Magazine

Eugene Onegin

Dorset Opera

Anna Patalong‚ as Tatyana‚ was thrilling and moving throughout‚ with a beautifully warm timbre and a dramatic gift to match.

The Spectator

Outstanding was Anna Patalong‚ who made an enchanting Tatyana‚ warm-toned‚ shy yet ardent‚ glowing through the passion of the Letter Scene yet tender and vulnerable too.