Reviews

Dido and Aeneas, Madrid 2019

“Surprising and highly effective the performance of Aphrodite Patoulidou as Belinda: she is graceful, refined, she has a very beautiful voice, whispering and gives body to a necessary character. She is Greek, I could not expect anything else, because she carries in her blood and in her name, the elixir of gods and myths.”
-Operaclick

“Belinda by Aphrodite Patoulidou, with a beautiful timbre and great projection, which shone remarkably..”
-Codalario

“Soprano Aphrodite Patoulidou as Belinda made a strong impression”
-Seen and Heard International

“There was also impeccable work from Aphrodite Patoulidou as a sweet Belinda..”
-Operawire

“The singers are in a balance of talent, difficult to stand out from one another, Marie-Claude Chappuis as Dido, Nikolay Borchev as Eneas, Aphrodite Patoulidou as Belinda, all excellent.”
-En Platea

The Rake’s Progress, Brussels 2019

“The young singer with the predestined name Aphrodite Patoulidou interprets Anne Trulove and scores in a limpid voice, deep yet in a very noble design. The notes oscillate between richness and clarity with precision, slightly tart and sitting. Touching in the role of the young a woman who is both loving and deceived, the tragedy presents itself to the soprano as a priesthood, which sinks into a freedom of a cappella or accompanied voices, mastered by play and by voice. ”
-Ôlyrix

“Less suited to the role Aphrodite Patoulidou as Anne Trulove, the Greek soprano has a tone too dark for the character, but the fact remains that her technique is the most appreciable and her powerful voice gives some of the most beautiful moments of the evening.”
-Giornale della musica

“The young singer Aphrodite Patoulidou fantastically plays an Anne Trulove clear, precise, deep, full of emotion, with a voice that runs clean on the seats. I sign her name.”
-MundoClasico / Bélgica

“Anne Trulove is an almost feminist Aphrodite Patoulidou, who experiences her tragic love with a sense of reality but is also moving.
A strong voice that can hold a pianissimo nicely”
-Klassiek Centraal

The Rake’s Progress, Gothenburg 2018

“Α charming young and vibrant “Rake’s Progress” performed by the sweetest voices where Aphrodite Patoulidou’s incisive golden lustrous soprano voice makes Anne Truelove the show’s shimmering focus.”
– Dagens Nyheter

“Aphrodite Patoulidou makes Anne Trulove’s aria in the first act into a beautiful soprano jewelry, which raises expectations for her big scene in the second act. And then it happens. Elegantly and dramatically, she turns up to her high C, and I shiver.”
-Borås Tidning

Soprano Aphrodite Patoulidou as a rare strong and wonderful Anne Truelove. (…) And when Patoulidou sings the famous scene “No word from Tom” the tears continue to flow – along my cheeks. Because we are with her, inside and out. Up against the highest difficult tone, like a projectile in a dark space of uncertainty. Or away from Tom who left her, hopelessly, and forever ensnared by Nick Shadow.
-Expressen

One of the show’s great vocal performance, however, is one of the story’s perhaps more one-dimensional characters: the sacrificing Anne Truelove (Aphrodite Patoulidou) who tired of waiting, heads out to find Tom. Her aria of the inevitable nature of true love belongs to one of the most intense moments of the show.
-GöteborgsPost

“The Greek young singer Aphrodite Patoulidou is peeking amongst the singers – in that lead role that by the way once was Barbara Hannigan’s opera debut”
SVT Nyheter

Weisse Rose, Athens 2018

“The talented, (…) soprano Aphrodite Patoulidou confirmed to the most all the good rumors about her: healthy timbre with great comfort in the high notes, the musicality, the vernacular pronunciation of the German language, the concentration on stage, ideally served a most difficult role, opening up … appetite for extremely ambitious bets (eg “Salome”)!”
– Athinorama

“Patoulidou in a role of the highest vocal and hypocritical demands and at the same time, with extremely difficult kinesiology (she sang for long on the ground!) Filled the stage with the emotion and the spasmodic intensity of her voice and with her body – language she stressed the despair, the fear, the psychic vibrations of Sophie.”
-Athen’s Voice

“Immersive interpretation!”
-Vimagazino, Athens

“(..) soprano Aphrodite Patoulidou, who through the certainly more advantageous but also more vocally demanding role of Sophie, which requires superhuman strength, offers generous promises of future impressive evolution in international waters: the (…) multi-talented soprano gives a shocking performance.”
-totetartokoudouni

“Soprano Aphrodite Patoulidou impressed, as she fully responded to the high demands of her role.”
to spirto

La Voix Humaine, Berlin 2018

“Aphrodite Patoulidou is gifted with an expressive face and has a beautiful voice that can express a wide variety of emotions. She is greatly at home both in parlé chanté and at trips to the high register. ”
Opern- & Konzertkritik Berlin

“Aphrodite Patoulidou impresses in her 45-minute Poulenc solo number as an abandoned woman on the phone especially in flowing “Parlandoton” as well as in violent emotional outbursts.”
– Hubert 11

The Lost Labyrinth, Brussels 2017

“Aphrodite Patoulidou enchanted in the Royal Conservatory of Brussels. Invited by the Harmonieorkest Symphony Orchestra, the Greek soprano impressed with her interpretation of the work of the distinguished Belgian composer (…)”
-Euronews

“Prince Sugarcane”, a tale, 3rd Panhellenic Award, Athens 2015

“With good use of the language is the narration of a tender tale, with a sufficient dose of humor, with words occasionally harsh, which in contrast with the fairy-tale make a literally effective blend, and furthermore they bring the fantastic kingdom of Prince Sugarcane parallel to the reality of life, public or not. ”
– Calliope Steriadou
Dr. of the Panteion University

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