Fiordiligi in COSI FAN TUTTE - Los Angeles Opera, September 2011

... a solid ensemble of world-class singer-performers...Kurzak's enormous range and dexterity turned her faithful-like-a-rock aria, "Come scoglio," into the showstopper it is.

Variety - Robert Hofler

All six singers boasted estimable talent. Top among them is Aleksandra Kurzak, who made a credibly conscientious Fiordiligi, and let her clear, pure soprano float effortlessly to the rafters, took on the coloratura challenge with chiseled perfection and could land lovely, low notes securely from wide intervals without register clicks.

LA Observed - Donna Perlmutter

The young cast of this “Così” is cause for celebration... All three women lit up the stage. Aleksandra Kurzak, a Polish soprano who has just released a dazzling CD of arias on Decca, was an affecting, soulful Fiordiligi.

Los Angeles Times - Mark Swed

That LA Opera has assembled six performers as good as those in this cast is a feat in itself. There are two international superstars in the cast who deliver all the promised goods. Soprano Aleksandra Kurzak is taking on the role of Fiordiligi for the first time in Los Angeles. She is known for her Mozart roles, and her turn here is a stunner. Her voice is bright and lovely, and her performance of “Per pietà, ben mio, perdona” is powerfully felt. She’s a superb actor as well, which makes her an excellent match for her betrothed Guglielmo, sung here by Ildebrando D’Arcangelo.

Out West Arts - Brian Holt

Recently feted in the 2011 September issue of Opera News, Aleksandra Kurzak makes a dual debut not only with LA Opera, but as Fiordiligi. This is one young lady to watch. As the stalwart anchor anyone can rest assured without duress for Ms. Kurzak commands the gyrating difficulties in her two big arias, “Come scoglio” and “Per pieta” with unrestrained finesse while simultaneously retaining stage presence and heartfelt emotion. No vocal challenge is too great for her: the trills impeccable, the coloratura spectacular. She is the total package. - Christie Grimstad

Soprano Aleksandra Kurzak dazzles with her wide vocal range. Each performer is outstanding in his or her own right. It is rare to see such vocal balance and acting skill on an opera stage at one time…For three hours and 30 minutes, these six artists sustained almost unfaltering voice and energy…the best “Così” I have seen. - Karen Weinstein

But as they so often are in Mozart, the real stars of "Così Fan Tutte" are indeed the women, who get most of the best music to sing. Romanian soprano Ruxandra Donose is wonderfully coy and coquettish throughout as the more impulsive of the two sisters, while her Polish counterpart Aleksandra Kurzak beautifully manages the vocal leaps of the opera's most famous aria ("Oh please, my love, forgive my faithful soul for wandering..."), in which she steels herself against encroaching temptation. (Los Angeles News) - Lyle Zimskind

From the very first scene, the depth and quality of the cast was in evidence... The two sisters, Fiordiligi and Dorabella, who began the opera engaged to (respectively) Guglielmo and Ferrando, were sung (respectively) by Polish soprano Aleksandra Kurzak and Ruxandra Donose. Their first scene was a perfect complement to the high vocal standards of the men, assuring the audience only a few bars into the opera’s second scene that it was in for an evening of glorious singing... I regard the Hytner “Cosi fan Tutte” as a world treasure and recommend the Los Angeles Opera performances with this cast unreservedly. - William’s Reviews

In one of Mozart's greatest soprano arias, "Come scoglio," Fiordiligi proclaims, "Like a rock stands my heart, unmoved by wind or sea!" It is an aria to test the boldest soprano, and Kurzak navigated the treacherous tessitura with flying colors.

Whittier Daily News - Jim Farber

The sextet of singers — four of them making their company debuts — looked appropriately young, sang beautifully, and acted their roles in this “battle of the sexes” story with saucy panache. Polish-born soprano Aleksandra Kurzak handled the wide range of Fiordigi with seeming ease and brought real pathos to her moving arias in both acts.

Class Act & - Robert D. Thomas