Veronica Mitina
Soprano
Press Reviews
Click here to read an interview with Veronica Mitina from the Washington Examiner
Mimì in La Bohème
"The glory of lyric soprano Veronica Mitina lies in her ability to bind the complexities into a unified vocal line with fresh and vibrant voice."
-- Roy Proctor - Richmond Times-Dispatch - October 25, 2009
"Soprano Veronica Mitina - the fragile, dying Mimì - made fine musical impressions. Her warm voice had a youthful freshness."
-- Lee Teply - The Virginian-Pilot - October 4, 2009
"The ladies were the powerhouses of the day, however, with sopranos Veronica Mitina as Mimì and Elizabeth Andrews Roberts as Musetta. Both, though very different in their roles and deliveries, brought something wonderful and different to their performances. Ms. Mitina though strong vocally portrayed the ill Mimi wonderfully. Her Act III duet with Rodolfo was especially well done and moving."
-- Joseph Giannino - OperaOnline.us - October 18, 2009
"Soprano Veronica Mitina has a sweetness of demeanor and her soprano vocal lines soar with emotional force when called for and she can shift to delicate, gentle tones as well when needed."
-- Edgar Loessin - WHRO-FM public radio - October, 2009
"Mitina started out projecting more like a Tosca, or even a Turandot, but captured the physical and emotional fragility of Mimì where it really counted, in her Act 3 parting with Rodolfo and her death scene in Act 4."
-- Letter V The Virginia Classical Music Blog - October 23, 2009
Nedda in I Pagliacci
"Canio's wife, Nedda, was played by soprano Veronica Mitina, whose sweet tones and captivating manner gave us a very vulnerable and tragic Nedda. Her little song about how birds symbolize her desire to be free ("Oh! Che volo d'augelli") was beautifully nuanced and created a powerful and immediate impression of the character."
-- David Lindauer - The Capital - Apr 19, 2009
Minnie in La Fanciulla del West
"Hats off to a fine ensemble cast, that managed to make it all believable, without seeming caricaturist. One, in particular, the dynamic soprano Veronica Mitina, delivered a brilliant stage and vocal performance that was captivating. Her Minnie was hypnotic in every way. Indeed, trim and fit, as most young singers are today, Ms. Mitina is gifted with an elegant and smooth vocal delivery and easy range that packs enough punch to keep a room fool of cowboys and those of us in the audience fixed on her words and glorious sound when she sings. Brava!"
-- Paul Joseph Walkowski - OperaOnline.us - Apr 27, 2008
"One of the (many) difficulties in presenting 'Fanciulla' is finding a soprano capable of singing the title role of the heroine, Minnie, who, besides appearing young, lithe and attractive, has to have an almost Wagnerian size or, at the very least, a uniquely penetrating voice that can cut through the often tumultuous orchestration, which emphasizes brass, percussion and lively woodwind passages. Russian-born soprano Veronica Mitina, a svelte, lissome strawberry blonde, also filled the bill musically with her amply sized, brightly colored voice. Her character continued to develop charisma and authenticity as the opera progressed. She seemed to charm the audience in much the same way she held most of the opera's male characters in her sway. Hers was the success story of the afternoon."
-- Anne Crebo - Cape Cod Times - Apr 29, 2008
Tatiana in Eugene Onegin
"The primary force on stage was Veronica Mitina, an assured actress who created a multi-dimensional, thoroughly believable portrayal of Tatiana, from the charming, naïve creature so easily blinded by Onegin's visit to the resigned woman summoning the will power to reject his belated declaration of love. Mitina's singing proved equally memorable. She delivered the letter scene with myriad tone colors and vivid phrasing and used her particularly rich low register to keen effect later in the opera."
-- Tim Smith - Opera News - May, 2008
"Of the principals, the strongest was Mitina, a lovely singer who was convincing as both the young girl and the more mature woman in the final scenes, and whose voice had most of the lyricism that the tricky role of Tatiana (both virginal and strong) requires."
-- Anne Midgette - Washington Post Staff Writer - Feb 26, 2008
"As Tatiana, soprano Veronica Mitina was clearly the star of the show. Her phrasing and pitch were near-perfect, and her 'letter writing' aria, the opera's most famous and most difficult, flowed naturally and affectingly."
-- T. L. Ponick - Washington Times - Feb 22, 2008
"Veronica Mitina is wonderful as Tatiana, who falls in love with Onegin when she is young and rejects him years later after she has married someone else and he belatedly (if unconvincingly) falls in love with her. Mitina's soprano is high, clear, and girlish at first, with excellent durability evident in her famous letter-writing scene; then her voice is enhanced with warmth when she reappears as a married woman; and then it reverts to its previous sound as she contemplates recapturing what she and Onegin once had, or could have had. This is remarkable vocal acting - and excellent singing, too."
-- INFODAD - Feb 24, 2008
"Mitina is impressive as Tatiana. A major first act highlight was Tatiana's twelve minute letter aria effortlessly sung by Mitina. We really get a sense of her naivety and what first love is."
-- Stephen Mason - Feb 14, 2008