Vocalist - Soprano
Acclaim
 
The fireworks and the finer points of 'Nixon in China'

“Vocally, the evening’s star turns are the fearless coloratura of US soprano Audrey Luna as a feisty Jiang Qing; and, for sheer character, the trio of Mao’s secretaries.”

Michael Dervan, Irish Times
Nixon in China lands in Dublin for triumphant Irish première

“In terms of visceral impact, Audrey Luna’s Chiang Ch’ing (Madame Mao) is the vocal performance of the evening. She negotiates Adams’ at times cruelly vaulting intervals with insouciance, pings her high notes fearlessly, and generally creates an appropriately unsettling impression of barely trammelled sadism and psychosis.”

Terry Blain, Bachtrack
Nixon in China, Bord Gais Energy Theatre

“Audrey Luna’s coloratura as Madame Mao Chiang Ch’ing, has piercing accuracy as she waves aloft Mao’s Red Book of ideologies.”

Pat O'Kelly, Irish Independent
'Arabella' Revived at the Met

“Audrey Luna was charming as the flirtatious Fiakermilli, who crowns Arabella as the queen of the ball in Act II.”

Barry Bassis, Epoch Times
Virginia Opera's 'Ariadne' spoofs high art in style
“As Ariadne’s low-class musical nemesis, Zerbinetta, puckish soprano Audrey Luna, attired as a post-punk princess, takes a decidedly low-art approach to the whole mess and, as leader of her troupe, decides to rescue the doomed maiden from her inevitable tragic death in spite of the script. Ms. Luna plays the low-art meme to the hilt, supporting it with a rich, plummy voice that underlines her authority.”
Terry Ponick, Communities Digital News
Virginia Opera presents 'Ariadne auf Naxos'
“Zerbinetta (soprano Audrey Luna) [was] the leader of the spiky-haired and tattooed comedy troupe. The performances were well-paced, physical, funny and finely sung.”
Gene Harris, Richmond Times-Dispatch
Virginia Opera's 'Ariadne auf Naxos'
“The other standout was Audrey Luna as Zerbinetta; the coloratura was impressive … and she truly made a meal of her role.”
Robert Battey, Washington Post
Voices rise to occasion in fine Strauss staging
“Singing with equally fine effect, soprano Audrey Luna made the most of the comical Zerbinetta without neglecting her serious moments. Her long solo scene, which kept her almost as busy physically as vocally, was a triumph.”
Lee Teply, Virginian-Pilot
“Audrey Luna’s Queen of the Night had the expected agility for the role, along with a sound that gained in strength and fullness the higher she sang.... The staccato high Cs of her iconic vengeance aria generated excitement, and all four high Fs were right on the mark.”
Robert Croan, Opera News
Tomorrow's Valhalla
"The soprano part of Ariel, brilliantly sung by Audrey Luna at the Met, is a coloratura tightrope walk so daunting it makes Mozart’s Queen of the Night aria seem like child’s play."
Vivien Schweitzer, New York Times
Rewarding taste of 'Tempest'

“Any consideration of ‘The Tempest’ begins with Adès’ treatment of the role of Ariel - not necessarily because it’s central to the opera but because the premise is so brazen. Adès casts Shakespeare’s airy sprite for a soprano singing at stratospheric heights - this is a role that makes the Queen of the Night sound positively baritonal by contrast. It’s a daring challenge for both the composer and the singer, who between them have to turn long sequences of potential squeaks and shrieks into music of unearthly beauty. And not least among the delights of Thursday’s concert was the joint success on that point by Adès and soprano Audrey Luna, in a splendid Symphony debut. … Even more striking is the setting of ‘Full fathom five’ (‘Five fathoms deep’ in Oakes’ version), which is surely the most purely lyrical music ever composed for a soprano singing well above the staff. Luna’s performance was a tour de force of precision and grace.”

Joshua Kosman, San Francisco Chronicle
“Audrey Luna delivers full and complete satisfaction, not only on the stratospheric plane – indisputable since her performance as Ariel in Thomas Adès’s The Tempest in Quebec and at the Met – but especially in the vocal line, with sensuous inflections.... Audrey Luna is the only one who has put flesh on this production.”
Christophe Huss, Le Devoir
Luna, Tessier and Bilgili in Stylishly Sung "Lakme"

“Rising Star Audrey Luna, who starred in the Metropolitan Opera’s production of Ades’ ‘The Tempest’ and who performed the Queen of the Night in the Santa Fe Opera’s 2010 production of Mozart’s ‘The Magic Flute’ proved to be a sensation in the title role. As required of a great Lakme, she showed mastery of the coloratura fireworks of the Air des Clochettes (Bell Song), and, for this role that is largely comprised of sustained legato singing, she sang expressively and affectingly, displaying both power and pianissimo.”

Opera Warhorses
Delibes' Lakmé opens new season at L'Opéra de Montréal

“Vocally, the star of the evening was the young American coloratura soprano Audrey Luna, who was making her company debut. Equal to every technical demand made of her, she possesses impressive vocal agility and extension, a silvery timbre and considerable power (especially at the top of her voice), … is physically alluring and performs with intriguing musicality (most notably her innovative and winning phrasing in the famous ‘Flower duet’ …). Though the celebrated ‘Bell Song’ was well delivered, Luna’s best singing came in the third-act ‘Berceuse’ and the aria ‘Tu m’as donné’.”

Richard Turp, BachTrack
“[A spectacular performance] from Audrey Luna in the title role. This American hyper-coloratura, noted for her acrobatics in dog-whistle territory as Ariel in Thomas Adès’s The Tempest, sang the Bell Song not only with thorough security but a sweet, beguiling tone. She was also a good actress.”
Arthur Kaptainis, Montreal Gazette
La Bohème (4/20/13), The Daughter of the Regiment (5/5/13), Ariadne auf Naxos (5/4/13), Glory Denied (4/21/13)
“Best of all, Audrey Luna turned Zerbinetta into a full-blooded character with soubrette allure, athleticism and worldly wisdom. Luna executed her difficult vocal turns effortlessly. Her vocal fireworks proved the perfect fizzy antidote to the Romantic lushness of Ariadne’s swooning love music.”
Willard Spiegelman, Opera News
At Strathmore, National Philharmonic's Lutoslawski benefits from lacking Orff
“Audrey Luna brought innocence and flute-like clarity to the amorous sighs of the soprano solos in ‘The Court of Love.’”
Charles T. Downey, Washington Post
Die Zauberflöte - SALT LAKE CITY - Utah Opera
“Audrey Luna, singing the Queen of the Night, had no trouble establishing her character’s bluster, popping out ‘Der Hölle Rache’s high Fs with laser precision.”
Robert Coleman, Opera News
Fort Worth Opera's Ariadne auf Naxos is a glorious treat
“As Zerbinetta, leader of the circus group, young Audrey Luna delivered the night’s showstopper, a coloratura free-for-all directed at Ariadne, who spent much of the time lying on the ground sobbing. In the aria that begins with 'Great high and mighty princess,' an effort to revive the goddess’ spirits, Luna used every vocal trick in the book, sailing into the stratosphere with runs, skips, trills, a note that sounded like a high F, you name it. The audience erupted in a roar when she finished and kept it up for some time.”
Leonard Eureka, Fort Worth Weekly
Richard Strauss' Ariadne auf Naxos Completes Fort Worth Opera's Perfect Season
“For this production, the company introduced soprano Audrey Luna to the local audience in the show-stopping role of Zerbinetta, in which Luna bounded through vocal acrobatics while convincingly portraying an empty-headed, egotistical entertainer who turns out to be wiser than anyone else.”
Wayne Lee Gay, D Magazine
Island in a Dream
“Luna provides much of the fireworks for the second act, and deftly navigates the role. Zerbinetta is written in the bel canto tradition, and Luna has no problems impressing all with her clear, controlled tone that is equally as stunning in the lower register as it is up in the coloratura range.”
John Norine Jr., TheaterJones
FW Opera stages an entertaining "Ariadne auf Naxos"
“Audrey Luna’s spunky Zerbinetta flits fetchingly around the stage and flutters easily through her vocal fireworks.”
Scott Cantrell, Dallas Morning News
Mozart masterpiece is as magical as ever
“Audrey Luna sang perhaps the opera’s best-known tune, the Queen of the Night’s vengeance aria, to terrifying effect, popping out a series of high F’s like sonic daggers.”
Catherine Reese Newton, Salt Lake Tribune

“Coloratura soprano Audrey Luna, costumed in a Lady Gaga-esque ensemble, contributed a musically and physically fearless performance as Ariel, whose vocal line lies impossibly (and sometimes cruelly) high.”

F. Paul Driscoll, Opera News
Thomas Adès' The Tempest live in HD from the Met
“Ariel is an almost unbelievably high role for coloratura soprano, and Audrey Luna’s stratospheric performance met its demands perfectly.”
Paul Kilbey, Bachtrack
A Magical "Tempest"
“Audrey Luna, dressed in a glittering body suit and slinking around the stage like Spider-Man, is a marvel as Ariel, and her vocal dexterity is breathtaking. The first bars she sings sound nothing so much as a puppy yelping, yet her final blessing on Ferdinand and Miranda is as soft and gentle as a benediction.”
Wilborn Hampton, Huffington Post
Such Stuff As Dreams Are Made On
“Adès’s most magical creation is Ariel, who levitates both in body and voice. She sings in the register of sprites, so high and soft as to float nearly out of the range of human hearing (and far beyond any singer’s ability to distinguish syllables). Get the casting wrong and you’re in for a long night of shrill squeaks, but Audrey Luna surfs on clouds, and in the final scene, her offstage voice blends with the orchestra’s eerie whistle, making it clear that while human order is restored, the isle remains a perpetually enchanted place.”
Justin Davidson, New York Magazine
Lepage's Tempest production reveals this great opera's full potential
“Audrey Luna is the radiant Ariel.”
Tom Service, The Guardian (UK)
'The Tempest' premieres at The Metropolitan Opera
“Audrey Luna steals the show as Ariel. Looking like one of Lepage’s Cirque du Soleil dancers in a sparkling catsuit and cap, she raises the bar for opera singers’ stage movement skills — not to mention vocal range. She sounds at ease living above high C. Adès often has her yap and squeal, but also gives her a transporting sustained aria that shows off a pristine sound and impressive control. As she scales the vocal stratosphere, she also scales the curtain, swings from a ‘Phantom of the Opera’-style chandelier while disguised as a harpy and writhes like a spider around the catwalk.”
Ronni Reich, New Jersey Star-Ledger
An Inspired and Personal 'Tempest' Makes Met Debut

“The role of the spirit Ariel is written for a coloratura soprano singing in a stratospheric range, here the physically and vocally agile Audrey Luna.… With her radiant voice flitting about in super-high fidgety bursts … Mr. Adès’s Ariel is a dazzling creation, and Ms. Luna conquers the role.”

Anthony Tommasini, New York Times
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