News & Reviews
Giulietta (I Capuleti e i Montecchi) with Teatro Nuovo
“Tamborini dazzled with the beauty of her voice and the sensitivity of her musicianship. Fioritura and trills tripped off her voice with graceful ease. Bellini’s long soaring lines crested on stunningly beautiful and truly exciting high notes. In “Oh quante volte, oh quante!” Giullietta’s recitative and romance from Act I, Tamborini gave voice to her frustrations over her impending marriage to Tebaldo and longing for Romeo with limpid lines aching with emotion. This was a breakthrough performance in every sense of the word for this exciting young artist.”
— Rick Perdian/New York Classical Review 7/22/24
Both Doche as Romeo and Tamborini as Giulietta excelled at the Bellinian vocal style of long, seamless lines and leaps, and rhythmic flexibility. The roles don’t require the stratospheric fireworks typical of bel canto, but there are plenty of demands on agility and precision. Romani’s lean text came through in clear Italian pronunciation.
Prima donna Tamborini played Giulietta as nuanced and conflicted. Like Doche’s Romeo, these were not vulnerable teenagers. She nailed ornaments with precision and absolute ease, like in her recitativo and romanza “Eccomi in lieta vesta,” in a powerful voice of ample, Verdian proportions, floral and sweet, with clean clarity and sonority.
Duets with Doche (“Sì, fuggire: a noi non resta”) were meltingly seamless. The final farewell in the Capuleti tomb, in which the duettists once again pledge their love, was emotionally convincing and tender, with Romeo laying his head on her lap.
— Courtney Smith/NJ Arts 7/24/24
Giulietta era interpretata da Alina Tamborini, una cantante dalla bella voce squillante e potente negli acuti, ma capace anche di toccanti accenti patetici nella bellissima aria “O quante volte”.
— Francesco Zanibellato/Opera Click 7/24/24
As the hapless couple, one could not imagine better performers. Alina Tamborini created a moving Giulietta, torn between her love for Romeo and her loyalty to her unloving father, well portrayed by Michael Leyte-Vidal with all the right degree of arrogance and stubbornness coloring his substantial bass-baritone.
Ms. Tamborini's warm soprano was unfazed by Bellini's challenging fioritura and her duets with mezzo-soprano Stephanie Doche were the highlights of a wonderful evening.
— Meche Kroop/VOCE DI MECHE 7/26/24
Then Giulietta makes her entrance in the second scene, and all is forgiven, particularly in the very capable hands of lyric coloratura Alina Tamborini. The recitative and romanza “Eccomi in lieta vesta…Oh quante volte ti chiedo” offer everything we expect musically from Bellini, particularly from the big, flexible voice of Tamborini, who was the find of the evening.
She sounded fresh and lovely, whether she was singing solo, as in "Ah! Non poss'io partire" or in duet (e.g., “Si, fuggire: a noi non resta”) with the Romeo, a pants role, of mezzo Stephanie Doche, she was wonderful. Mezzo Doche took some time to warm up but otherwise did a fine job as Romeo.
— Richard Sasanaw/Broadway World 7/27/24
As Giulietta, soprano Alina Tamborini had excellent diction and plenty of sound—starting with the extreme crescendo on her very first word, “Eccomi” (“Here I am”)
— Heidi Waleson/Wall Street Journal 7/30/24
“Alina Tamborini as Giulietta brought a large penetrating soprano with a quick vibrato that […] opened up brilliantly on top”
— Christopher Corwin/Observer 8/10/24
CALLAS: Past and Future with Teatro Nuovo
“Alina Tamborini brought equal satiny beauty and verbal point to ensembles from I Capuleti ed i Monteccchi and Ernani.”
— David Shengold/Classical Voice America 12/5/24
Berta (Il barbiere di Siviglia) with Teatro Nuovo
“…as his housekeeper, Berta, the soprano Alina Tamborini was unusually big-voiced and feisty.”
— Anthony Tommasini/The New York Times 7/28/21
“Soprano Alina Tamborini came to our attention just 2 years ago, not only through Teatro Nuovo but also through Talents of the World Competition. We can never forget her performance of "Adele's Audition Aria" from Johann Strauss' Die Fledermaus. How happy we were to hear her again in the role of Berta to which she lent her crystal clear soprano and lovely phrasing.”
— Meche Kroop/Voce di Meche 7/28/21
“…while the fizzy aria di sorbetto of Alina Tamborini’s Berta displayed the dazzling charm often missing from Ludwig’s restrained Rosina.”
— Christopher Corwin/Parterre Box 7/28/21
“The three artists are additionally accompanied by soprano Alina Tamborini as Berta, bass Daniel Fridley as Don Basilio, and baritones Scott Purcell and Kyle Oliver as Bartolo and Fiorello, respectively. All of the singers had impressive skill and exhibited raw, uninhibited talent. Their on-stage vulnerability lent for an impassioned delivery which was impactful to all who were lucky enough to hear it. Bellowing vocals swelled the venue with their prolific pipes.
— 360 Magazine 7/29/21
“Alina Tamborini, as Berta the maid, was a force as her soprano voice skyrocketed over the top of the Act one finale stretta, ‘Ma signor.’”
— Chris Ruel/Opera Wire 7/30/21
“Alina Tamborini, a real soprano, performed beautifully like Berta.”
— Le roi Arthus & Financial Times 7/30/21
“Alina Tamborini lent her full soprano, notable for its richness and flexibility, to Berta’s aria.”
— Rick Perdian/Seen and Heard International 8/1/21
“While expertly sung by Alina Tamborini, it must be noted that the aria “Il vecchiotto cerca moglie” was originally a “sherbert” aria.”
— Peter Szep/Indie Opera 8/2/21
“Berta, Bartolo’s maid, was sung by soprano Alina Tamborini with spunk to spare.”
— John Hohmann/Schmopera 8/7/21
“Soprano Alina Tamborini made a charming and surprisingly young Berta – she shone in Berta’s throwaway air, providing an unexpected vocal climax.”
— Bruce S. Bratcher/Saturova 8/9/21
3rd Place - Talents of the World International Voice Competition
“Soprano Alina Tamborini tickled us with "Adele's Audition Aria" from Johann Strauss' Die Fledermaus. Although we prefer the aria sung in German, we must admit that the translation was an excellent one and Ms. Tamborini's clarity of diction won us over completely. She created a real character that we could laugh along with, one that reminded us of every deluded "wannabe" that we've ever met. The fioritura of "Ach, ich liebte" from Mozart's Die Entführung aus dem Serail showed consummate coloratura skills and made us want to hear her as Queen of the Night.”
— Meche Kroop/Voce di Meche 12/6/19
“Next was soprano Alina Tamborini, singing “Adele’s Audition Aria” from Johann Strauss’ Die Fledermaus. Her effervescent voice worked well with the bouncing rhythm. The ornamented lines were nicely shaped by Tamborini’s energetic warmth, and she remained in control of her breath and support through the ornaments which come between her phrases with little break. Her second number, “Ach, ich liebte” from Mozart’s Die Entfuhrung aus dem Serail, saw her more dramatically focused, employing a firm vocality throughout.”
— Logan Martell/Operawire 12/10/19
“We were overjoyed to get another chance to hear soprano Alina Tamborini perform "Adele's Audition Aria" from Johann Strauss' light-hearted operetta Die Fledermaus. We have attended coachings of this aria and we can tell you that Ms. Tamborini needs no coaching.”
— Meche Kroop/Voce di Meche 12/23/19
“Also among the winners was Alina Tamborini, who sang “Adele’s Audition Aria” from Johann Strauss’ Die Fledermaus. The duple meter was brightened by her bubbly colors as Tamborini made wonderful use of trills and her soaring vocality as she easily played to the audience with a sunny disposition.”
— Logan Martell/Operawire 12/30/19
Isoletta (La Straniera) with Teatro Nuovo
“Soon we would meet the anxious bride Isoletta, sung by soprano Alina Tamborini whose promotion from Apprentice Artist was well deserved. She has a beautiful presence onstage and a voice to match, with a lovely resonance and beautiful Bellini phrasing. Sadly, we wouldn't hear much more of her until the end of the opera.”
— Mecho Kroop/Voce di Meche 7/18/19
“As Isoletta, a hapless bride-to-be, Alina Tamborini displayed a most interesting timbre, with a trace of flicker-vibrato that was very appealing. She has the wide range demanded by the composer - clear high notes and plush low ones - and a lovely trill.”
— Oberon/Oberon’s Grove 7/18/19
“Alina Tamborini sang Isoletta with a clear, attractive line and a genuine trill, though it was a sizable voice and no canary. I wouldn’t be surprised to encounter a Sonnambula in her future.”
— John Yohalem/Parterre Box 7/19/19
“Speaking of contrasts, soprano Alina Tamborini represented a wonderful vocal counterpoint to Lyons. Where the former had a rounder and edgier quality to her singing, Tamborini’s voice was delicate and light as a feather. This quality lent her Isoletta a greater sense of vulnerability and innocence that the provided the ideal counterpoint to the world-weariness of the future queen. Isoletta gets the opening duet to make a quick impression and then disappears until the second act. Tamborini took full advantage of this opportunity granted and blended beautifully with LaBrie’s singing. But she really stood out in the two repetitions of “Ogni speme a the rapita che ripen nell’amor,” the pianissimo singing creating a haunting effect. When she returned later in the opera for her big aria “Ah! non m’ami più” she displayed a sense of flowing legato line coupled with sublime tonal qualities. It was also fantastic to see her voice at its maximum voluminous potential during the ensuing ensemble alongside the other major soloists and chorus.”
— David Salazar/OperaWire 7/19/19
“Alina Tamborini, in the insanely underdeveloped role of Isoletta, exhibited an interestingly shiny tone and tense vibrato. Her aria, with difficult flute obbligato (stunningly played by Joseph Monticello), was a show stopper.”
— Robert Levine/Bachtrack 7/20/19
“As Isoletta, soprano Alina Tamborini displayed a plush, flexible instrument with shimmering vibrato and a wide range, with well-knit but distinctly colored registers; her coloratura was especially expressive.”
— Susan Brodie/Classical Voice North America 7/21/19
“In particular, there were a pair of sopranos, […] and Alina Tamborini, whose individual styles and distinctive voices, the former with some steel in it, the latter more luxurious in the Angela Meade style. Both were a pleasure to hear and made a persuasive case for their music.”
— Richard Sasanow/Broadway World 7/22/19
“Alina Tamborini’s elegant soprano, even throughout its range, was particularly imposing in Isoletta’s two arias.”
— Rick Perdian/Seen and Heard International 7/23/19