Reviews

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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