Press

Elisir d’Amore

„Oriana Favaro was a quality Adina, with a beautiful presence, a very sympathetic performance and a very good vocal performance, without any problematic treble to tarnish in any way her very adequate work. Favaro is an established soprano in Argentina, known and appreciated in Uruguay, Brazil, Chile, Colombia and Mexico in traditional roles as well as in renaissance music and contemporary opera, and she proved her worth again on this occasion. The voice is not huge, but it is perfectly audible in the hall; the coloratura came naturally in a role she handles comfortably and makes her the center of the action.“

Gustavo Gabriel Otero

…full review at Sobrevivientenlaciudad

Monteverdi – Altri Canti

“The versatility of Oriana Favaro’s luminous timbre (noticed in Candide and Rigoletto) and her sense of theatrical acting, which illustrate with elegance and delicacy the baroque expression, allow her to move with ease from one character to another. Her vibrato is discreet and elegant.”

Sébastien Vacelet

…full review at Olyrix.com

Monteverdi – Altri Canti

“The versatility of Oriana Favaro’s luminous timbre (noticed in Candide and Rigoletto) and her sense of theatrical acting, which illustrate with elegance and delicacy the baroque expression, allow her to move with ease from one character to another. Her vibrato is discreet and elegant.”

Sébastien Vacelet

…full review at Olyrix.com

Cuentos de Hoffmann

“And also ovationed was Oriana Favaro, who showed her splendid coloratura and high notes in the very difficult aria of Olympia -of intense exigence for any leggero soprano worth her salt as such- just exactly as her acting skills giving life to the automata in a perfect coordination of movements. She was the most applauded of all the feminine roles”

Martha Cora Eliseth

…full review at Asociación de Críticos Musicales

Powder her Face

“Oriana Favaro as the domestic employee, the confident, the Duke’s lover, a woman from the public, a maid and a journalist, shone for her perfect coloraturas, her powerful middle register and for her admirable scenic involvement that implied to embody six different characters in only two hours”

Gustavo Gabriel Otero

…full review at mundoclasico.com

Powder her Face

“Oriana Favaro as the domestic employee, the confident, the Duke’s lover, a woman from the public, a maid and a journalist, shone for her perfect coloraturas, her powerful middle register and for her admirable scenic involvement that implied to embody six different characters in only two hours”

Gustavo Gabriel Otero

…full review at mundoclasico.com

Der Rosenkavalier

“The third great feminine figure –although far away in the least of importance- was Oriana Favaro in a consecratory performance. To her beautiful tone and interpretation abilities she added, in her approach of the fragile Sophie (…) a remarkable presence on stage. And yet her duet with Octavian and the final terzetto will remain among the highest musical highlights of the recent history of Teatro Colón”

Diego Fischerman

…full review at Página12

Lucía de Lammermoor

“Oriana Favaro’s performance was brilliant not only in the vocal aspect but also in the way she built and developed the character: as an artisan. Lucia is in the beginning a woman imprisoned by the violence and obligations of her brother, situations expressed through a physical and vocal repression. Only when she receives the false letter from her lover, she starts playing with her hands, touching compulsively her skirt, her chest, her hair. That moment will take her (…) to shine vocally in the madness scene, especially in the (extremely acclaimed) duet with the flute”

Virginia Chacon Dorr

…full review at La Nación

Lucía de Lammermoor

“Oriana Favaro’s performance was brilliant not only in the vocal aspect but also in the way she built and developed the character: as an artisan. Lucia is in the beginning a woman imprisoned by the violence and obligations of her brother, situations expressed through a physical and vocal repression. Only when she receives the false letter from her lover, she starts playing with her hands, touching compulsively her skirt, her chest, her hair. That moment will take her (…) to shine vocally in the madness scene, especially in the (extremely acclaimed) duet with the flute”

Virginia Chacon Dorr

…full review at La Nación