Violetta in LA TRAVIATA - Arena di Verona, June 2019

The Festival could not start better and in this first performance, we enjoyed a lot the beautiful Violetta by Aleksandra Kurzak. Lavish in temperament and passion, she is able to hold a considerable (unwritten) E flat to end the cabaletta and to vocalize a rapturous "Amami, Alfredo" culminating with an exciting third act of tragic intensity. […] In any case the interpreter emerged victorious from the challenge. - Andrea Merli for ÓPERA ACTUAL


In the title role Aleksandra Kurzak shows us 'her' Violetta. [...] We appreciated the artist's qualities after the break: the character and personality of the soprano have gradually emerged and above all her sensitivity in addressing generously challenging events. Kurzak's voice is malleable, wavy and capable of producing very fine and delicate sounds that, better than any gesture or gaze, characterize the suffering of a dying woman. - Maria Teresa Giovagnoli for MTG Lirica

Appreciable was the Violetta by Aleksandra Kurzak and not so much for the vocal responsiveness - she raised without problems up to the E flat in “Sempre Libera” and honored all the topical moments of the part – but as well for proving to be a true interpreter, which in a work like Traviata is almost a priority quality. Her mastery in playing with the mezzevoci and pianissimi served a sensitive and torn character, very suggestive in the second act and even more in the third, all driven with a fil di voce really bravely sustained in the vastness of the Arena but obviously of very expressive effect , while highlighting the progressive extinction of the protagonist. - Davide Annachini for

Aleksandra Kurzak was performing as Violetta Valery. Quite comfortable in the dramaturgy of the character, she distinguished herself for a rather natural use of her voice, without forcing. […] She really became Violetta, with all her strength and fragility, expressed with beautiful ‘fil di voce’ and sincere emotionality. - by #lideamagazine

First and foremost, Aleksandra Kurzak meets all the requirements of the difficult role of Violetta Valery, this lost sheep of Traviata . With restraint, the Polish singer does not need to deploy much power to fill the entire arena and therefore remains light and flexible in her coloratura and voice issuance. She sketches romantic melodies with a relaxed style, and remains present in great scenes. Very poignant, she turns into an agonizing patient, coughs out her soul and expires her last singing. She plays with pauses, expressions and makes the dramatic tension grow. - Helmut Pitsch for Opera Online