Reviews
Norina at Florida Grand Opera
[...] The outstanding voices of the evening belonged to bass Kristopher Irmiter (Don Pasquale) and soprano Laura Tatulescu (Norina). [...] The perky and petite Tatulescu possesses a strong soprano, capable of the soaring runs, flutters and speedy clarity required for Norina. Her musing on how to ensnare a man (“So anch'io la virtù magica”) was delicious, claiming, “…a charm of a smile, a seductive look… are some of the thousand tricks to get my way in life.” Her duets with all three of the men were on the money, Tatulescu adjusting her character to fit the moment and man with whom she was dealing. Announcing that she was ready to carry out their elaborate plan, masquerading as Dr. Malatesta's sister to trick Pasquale into marrying her (“Pronta son; purch'io non manchi”), she and Nisticò matched up nicely for the lively duet. Tatulescu ascended and bloomed into her upper voice as Nisticò coached her on how to act "cat-like," a sexy persona she would exhibit throughout the opera. During the confrontation between Pasquale and Norina, Tatulescu’s detachment and indifference played beautifully against Irmiter’s bewilderment (“Via, caro sposino”), dismissing him with “…go to bed, Grampa,” her splendid runs a high point. She combined effectively with tenor Jesús Álvarez (Ernesto) for the love duet (“Tornami a dir che m'ami”), Donizetti sublimely and beautifully crafting the final intertwined notes with the tenor voice on top and soprano on the bottom. [...]
Miamiartzine - 15 May 2015
[...] The Romanian-American soprano Laura Tatulescu was an excellent Norina on opening night Saturday at the Ziff Ballet Opera House. Her voice is powerful without being particularly large, and she sang the flourishes of things like “Caro sposino” with fluidity and accuracy. [...]
Palm Beach Arts Paper - 12 May 2016
Susanna in Le Nozze di Figaro, Seattle Opera
[...] Most notable was soprano Laura Tatulescu in the demanding role of Susanna, the feisty, adorable, intelligent chambermaid who conspires with Figaro and the Countess to humble the arrogant, philandering Count. Tatulescu proved herself a supremely talented comedic actor and singer. [...]
SGN - 22 January 2016
[...] Laura Tatulescu made her debut in Seattle with Susanna. The role matches nicely her vocal features and her energetic and cunning Susanna was one of the highlights of the production. [...]
Opera World - 20 January 2016
[...] Laura Tatulescu’s feisty Susanna and John Moore’s complex Count were standouts [...]
The Seattle Times - 17 January 2016
Helena in A Midsummer Night's Dream, Klagenfurt
[…] einer herrlich phrasierenden Laura Tatulescu (Helena) ideal besetzt. [...] (And Laura Tatulescu with her splendid phrasing was ideally cast)
Kleine Zeitung - Helmut Christian - 31 October 2015
[...] Laura Tatulescu [...] war [...] eine energische Helena mit sicherer Stimmführung [...] (Laura Tatulescu was an energetic Helena with secure vocal technique)
Der Opernfreund - Hermann Becke - 30 October 2015
Symphony No 2 "Resurrection", G. Mahler, Atlanta
[…] In the concluding fifth movement the chorus joined in, singing at the top of their game. Tatulescu’s solo soprano voice floated over the choral texture, colored with emotions of the text without being overbearing. […]
Arts ATL - Mark Gresham - 18 September 2015
[...] O’Connor’s and Tatulescu’s voices are well suited to the work, which calls for them to both sing solo and as a duet. When singing together, the musicians affected a dark, luxurious vocal timbre. [....] Tatulescu’s soprano passages in the fifth movement soared agilely above the orchestra and chorus. [...]
The Atlanta Journal-Constitution - Jon Ross - 18 September 2015
Serpetta in La Finta Giardiniera, Santa Fe Opera
[…] La Serpetta de Laura Tatulescu robó el show / Laura Tatulescu's Serpetta stole the show […]
El nuevo Herald - Sebastian Spreng - 29 August 2015
[…] The most interesting characterization was Laura Tatulescu's portrayal of Serpetta. While singing with both rhythmic accuracy and well-modulated tonal quality, the soprano showed she was not about to be treated as a lesser person because she was a mere housekeeper. [...]
Music and Vision - Maria Nockin - 12 August 2015
[...] Speaking of imperious, Laura Tatulescu’s sharp-tongued Serpetta gives Arminda a run for her money in the nastiness department. Serpetta’s continuously snarky vocal one liners, as delivered by Ms. Tatulescu, give this production an additional comic lift… [...]
Community Digital News - Terry Ponick - 3 August 2015
[...] The bickering buffo servants, Laura Tatulescu (Serpetta) and Joshua Hopkins (Nardo), add fine voices to their seemingly sitcom portrayals [...]
Santa Fe Reporter - John Stege - 29 July 2015
[...]Soprano Laura Tatulescu portrayed the Mayor’s housekeeper Serpetta with richly modulated tone and clear rhythmic articulation [...]
Santa Fe The New Mexican - James M. Keller - 26 July 2015
[...] In the servants’ roles both Hopkins as Nardo and Tatulescu as Serpetta excelled. […] Laura Tatulescu’s Serpetta provided the comic touch to every scene with an attitude that presages the likes of “Cosi fan Tutte’s” Despina [...]
Opera Warhorses - 30 July 2015
Blanche de la Force in Les Dialogues des Carmélites, Stadttheater Klagenfurt
[...] Laura Tatulescu war mit sensiblem Sopran eine starke Blanche, brachte deren Zerbrechlichkeit auch stimmlich vollkommen zum Ausdruck und überzeugte in der Darstellung der Wandlung vom verzagten Wesen zur mutigen Märtyrerin. […]
Das Opernglas, W. Kutzschbach - 1 April 2015
[...] The central figure of Blanche was sung by the American-Romanian Laura Tatulescu. (…) In her role debut, Tatulescu proved to simply be an ideal Blanche - with her youthful and anxious demeanor she was utterly convincing dramatically and vocally, as an aristocrat, as well as a novice in daily monastery life – she didn´t play the young Blanche – she was Blanche. […]
Der Opernfreund - 14 February 2015
[...] how Laura Tatulescu embodies the prophetic, mortally fearful Blanche is impressive vocally and scenically perfectly realized. […]
Der Standard, Michael Cerha - 16 February 2015
[...] The opera is an overwhelming and arresting experience thanks especially to the ensemble of women on stage. It is led by Laura Tatulescu, who believably portrays Blanche´s development with her focused soprano voice. […]
Die Kleine Zeitung - 18 February 2015
[…] Laura Tatulescu spielt und singt die von unzähligen Phobien, selbst von der Angst vor der Angst geplagte Blanche, die im Kloster der Karmeliterinnen Zuflucht sucht, mit sanfter Reinheit, aber auch eindringlich und expressiv. […]
Opernnetz, Helmut Christian Mayer - February 2015
Norina in Don Pasquale, Santa Fe Opera
[...] The earthy Italian neo-realist actress, Anna Magnani, had a telling nickname, “La Lupa,” that might easily be applied to Norina, sung by SFO newcomer, Laura Tatulescu. She first presents as a cynical gal in a black slip, down on her luck and ready to scheme with Malatesta for a chance at Ernesto plus a probable cash windfall. Her transformation from pretend-shy innocent to Pasquale’s termagant “bride” makes for edgy fun. Tatulescu commands a terrific trill, confident passagework and plenty of red hot brio [...]
Santa Fe Reporter - 8 July 2014
Susanna in Le Nozze di Figaro at the Mostly Mozart Festival, New York
[...] The soprano Laura Tatulescu is a sweet-voiced and feisty Susanna [...]
New York Times - 12 August 2013
[...] Laura Tatulescu made outstanding contributions in her many ensemble numbers, and gave a lovely account of her only aria, ‘Deh vieni, non tardar’ [...]
Classical Source - August 2013
Susanna in Le Nozze di Figaro at the Konzerhaus Berlin, Saisoneröffnung
[...] Laura Tatulescu ist eine bezaubernde Susanna, um die sich der Graf, Figaro und nicht zuletzt das Publikum reißen. Man muss sie ganz einfach lieben, was der gewitzte Mozart schon immer wusste [...]
Morgenpost - August 2013
Susanna in Le Nozze di Figaro at Glyndebourne Festival
[...] Laura Tatulescu was a formidably feisty Susanna; she kicked, screamed, slapped and raged yet her acting skill failed to dim a sensationally clear and powerful soprano which soared mellifluously above the orchestral score [...]
Sussex Express - 11 June 2013
[...] But it is Laura Tatulescu who steals the evening with a feisty Susanna, full of energy in both her singing and her physical presence on stage [...]
thelatest.co.uk - 8 June 2013
[...] Tatulescu’s Susanna is outstanding, witty, personable, agile-voiced but able to flood with warmth at the right moment, which “Deh vieni” certainly is, even though its passion – so typically of Mozart – is spurious, fed by anger [...]
The Arts Desk - 9 June 2013
[...] Adam Plachetka and Laura Tatulescu are excellently matched as Figaro and Susannah, technically assured and confidently acted [...]
Financial Times - 10 June 2013
[...] Susanna, the driving force of so much of the action, is taken by Laura Tatulescu, yet another Glyndebourne newcomer, vocally at the top of her game and further evidence of this house’s uncanny ability to recruit young newcomers of the highest quality [...]
Gramophone - 10 June 2013
It will be very surprising if Laura Tatulescu’s Susanna [...] does not become a well known feature of all the other leading opera houses
Music OMH - 9 June 2013
[...Susanna did much to come to the galvanising rescue of Figaro, and Laura Tatulescu’s performance was consistently the best thing of the evening [...]
Classical Source - June 2013
Despina in Cosi fan tutte at Usher Hall, Edinburgh
“Laura Tatulescu threatened to steal the show, though, as the mischievous maid Despina, taking an evident delight in her mistresses’ predicament. "
The Scotsman - 6 October 2012
Laura Tatulescu acted well as Despina and was at her best in her solo numbers
Seen and Heard International - October 2012
Christopher Maltman’s Don Alfonso and Laura Tatulescu’s Despina projected their words like native Italians, and there was just the right level of confidentiality between stage and audience: everyone “acted” as if for real
Financial Times - October 2012
Despina in COSI FAN TUTTE at Hong Kong Arts Festival
“ …vor allem die unverdrossene Laura Tatulescu als Despina, da freut man sich über jeden Auftritt”
Sueddeutsche Zeitung - Egbert Tholl
“ein völlig anderes Rollenbild als bei der furiosen Laura Tatulescu aus der ersten Aufführung, von der noch viele Hongkonger träumen werden”
Sueddeutsche Zeitung - Egbert Tholl
Despina in COSI FAN TUTTE under Riccardo Muti
Eine Entscheidung, die ganz im Sinne der quirlig bodenständigen Despina von Laura Tatulescu ist. Bezaubernd komisch singt sie der illusionslosen Realität das Wort, mit viel stimmlichem Potenzial in der Höhe und komödiantischer Verstellkunst als quäkender Notar.
Der Standard - Petra Haiderer
“Fein und wortdeutlich gearbeitet sind - wie immer - die Rezitative. Bei den Arien lässt Muti den Sängern den schon in der statischen Regie Roberto de Simones angelegten breiten Raum. Den nutzt vor allem die neue quirlige Despina Laura Tatulescu, eine veritable, unterhaltsame Entdeckung von einem Dienstmädchen. Das hebt sie umso mehr von der fast unerträglich philologischen und an den überzeichneten Klischees vom vermuteten Verhalten der Mädchen aus der europäischen Oberschicht des 18. Jahrhunderts haften bleibenden Inszenierung ab.”
Salzburger Nachrichten
“Zur großen Freude vernahm man für die Despina kein piepsiges Soubrettenstimmchen, sondern immer besser entwickelnde, voll- und rundstimmige LAURA TATULESCU. Ihr gelingt die Verkörperung dieser listigen Schlange auf beste Weise.”
Der Neue Merker - Martin Robert Botz
Laura Tatulescu, erstmals als Despina zu erleben, hatte als freche, humoristisch ueberlegene Kammerzofe die Lacher auf ihrer Seite. Ganz schoen fruehreif, wie die Dienstmagd ihren Herrinnen vorlaut das Mysterium Liebe entriss.
Wiener Zeitung - Daniel Wagner
Phébé in Castor et Pollux at English National Opera
“… But on opening night it was the pure vocal intensity and psychological interest of Laura Tatulescu's sinning and sinned-against Phébé that wrung the heart.”
New Statesman – Alexandra Coghlan – 31 October 2011
“Phoebe, lustrously sung by Romanian soprano Laura Tatulescu”
Whatsonstage.com – Michael Coveney – 31 October 2011
“Laura Tatulescu was excellent as her devious sister Phébé.”
Express – William Hartston – 1 November 2011
“Sophie Bevan and Laura Tatulescu portrayed the sisters as if they had been performing Rameau all their lives, natural ebb and flow hand in hand with dramatic commitment.”
Seen and Heard International – Mark Berry – 24 October 2011
“Laura Tatulescu’s darker voice allowed great contrast with Bevan, though their voices too proved compatible.”
Classical Source – Alexander Campbell – 24 October 2011
“Laura Tatulescu's embittered Phébé was the ideal foil, both voice and presence beautifully shaded.”
The Arts Desk – Igor Toronyi-Lalic – 25 October 2011
Hanna in Make No Noise (Miroslav Srnka) – World Premiere, Bayerische Staatsoper
Hanna (großartig als Frau, die zu ihren Gefühlen keinen Zugang mehr hat: Laura Tatulescu).
Die Deutsche Bühne - Klaus Kalchschmidt - June 2011
Zerlina in Don Giovanni, Bayerische Staatsoper
„Laura Tatulescu tut es ihnen an Spielfreude gleich - eine leuchtende Zerlina.“
Süddeutsche Zeitung - Egbert Tholl - 16.07.2011
Zerlina in Don Giovanni at Bayerische Staatsoper under Kent Nagano
Erfreulicherweise war die Zerlina mit der kräftigen Laura Tatulescu gegen das neckige Soubretten-Klischee besetzt.
Die Abendzeitung - Robert Braunmüller - 1 November 2009
[...] dem sinnlichen Sopran von Laura Tatulescu als Zerlina [...]
Frankfurter Allgemeine Zeitung - Julia Spinola - 2 November 2009
Bei den Damen fällt Laura Tatulescu auf, eine Zerlina mit dunklen Farben, für einmal keine Soubrette.
Neue Zürcher Zeitung - Peter Hagmann - 3 November 2009
Amongst the ladies Laura Tatulescu stood out as a Zerlina with dark colours in her voice, for once not a Soubrette.
Neue Zürcher Zeitung - Peter Hagmann - 3 November 2009
Ein Lichtblick die Zerlina von Laura Tatulescu. Sie ist ganz auf Erotik eingestellt, sie ist die selbst bestimmte Frau, die sich die Männer nimmt, wie sie ihr gefallen, und dann mit dunkel sinnlich beweglichen Ton ansingt.
Sueddeutsche Zeitung - Reinhard J. Brembeck - 2 November 2009
Laura Tatulescu's Zerlina was a ray of hope! She is completely focused on eroticism, she is a self-reliant woman, who uses the men as she wishes, and sings with a dark, sensuous and agile sound.
Süddeutsche Zeitung - Reinhard J. Brembeck - 2 November 2009
With the exception of Mariusz Kwiecien's dulcet, strong baritone in the title role, the superb Alex Esposito as Leporello, and the sensuous soprano of Laura Tatulescu as Zerlina, the premiere was not really vocally pleasing, either.
Frankfurter Allgemeine Zeitung - Julia Spinola - 2 November 2009
Lauretta in GIANNI SCHICCHI, Woody Allen’s Production in Los Angeles under James Conlon
“Lauretta, Schicchi’s daughter, who aches with love for Rinuccio, is alluringly sung by the young soprano Laura Tatulescu.”
The New York Times - Anthony Tommasini
“The young lovers, Schicchi's daughter Lauretta (Laura Tatulescu) and Rinuccio (Saimir Pirgu) are uncommonly sexy.”
LA Times - Mark Swed
“The daughter of Schicchi, Lauretta was soprano Laura Tatulescu. She gave the single hammiest and most certainly one of the most amusing performances of the hackneyed “O mio babbino caro”, that this reviewer has yet seen and in doing so, breathed new life into the overexposed aria.”
LA Opera Online - Dawn Southwick
“Saimir Pirgu als Rinuccio und Laura Tatulescu als Lauretta (die ihre zukünftige Schwiegermutter schon mal mit dem Messer bedroht) gaben ein stimmlich hinreißendes und vor Leidenschaft glühendes Liebespaar ab.”
Susanna in LE NOZZE DI FIGARO at Vienna State Opera under Philippe Jordan
Laura Tatulescu sang als Susanna ihre erste grosse Rolle mit einer selbstverstaendichkeit und Ueberzeugungskraft, das mann sich auf weitere freut.
Kurier - Wien
Wo beginnen? Vielleicht mit der neuen, plötzlich angesetzten Susanne, die – eine in den USA geborene Rumänin – in der Staatsopernzeitschrift gleich einen zweiseitigen Artikel zum Einstand bekam. Laura Tatulescu ist unglaubliche 25 Jahre jung und war eine Susanne, die einmal an meine beiden Lieblingsinterpretinnen (Reri Grist und Ileana Cotrubas, lang, lang ist’s her) herausreichen könnte – sie hat die Statur für die Rolle, den Glockenklang mit Seelenton und den Instinkt, die unglaubliche Vielschichtigkeit dieser Figur zu spielen – die Verliebtheit in Figaro, die Verlockung durch Cherubin, den Weibchen-Instinkt, sich gegen den Grafen zu wehren, den Grimm über die letztendliche Wehrlosigkeit von Frauen ihres Standes inbegriffen, die weibliche Loyalität der Gräfin gegenüber… Es scheint, als ob diese junge Sängerin die Erfahrung von hundert Susannen-Abenden hinter sich hätte, so sicher steht sie in der Rolle und auf der Bühne.
Der Neue Merker - Renate Wagner
Sophie in WERTHER under Marco Armiliato
Laura Tatulescus Rollendebut als Sophie geriet tadellos; ihre vergebliche Liebe zu Werther war mit ruehrendem Charme gespielt.
Oesterriech - Karl Loebl
“Schlicht ausgezeichnet Laura Tatulescu als Sophie”
Kurier - Peter Jarolin
“Die aufblühende Sophie der Laura Tatulescu”
Die Presse - Walter Weidringer
Laura Tatulescu's gorgeously-sung Sophie was a vibrant cameo of youthful innocence.
Opera News - Larry L. Lash
Marzelline in FIDELIO under Adam Fischer
“ Die zweite Idealbesetzung des Abends war Laura Tatulescu als warmherzige, innige, paezise Marzelline. “
Oesterreich - Karl Loebl