Press

Once Florian began ‘Tacea la notte placida’, singing with commanding authority, the night took a turn in the right direction. Florian sang with a gorgeous, dark timbre and easy high notes—and, most important of all, with true bel canto phrasing, which paid off in the final act especially.

Alexandru Pătrașcu
Opera Magazine, August 2019

Aurelia Florian as Roxana sought to persuade her entourage—and us—with her top notes.

Gerhard Persché,
Opera Magazine, June 2019

Romanian soprano Aurelia Florian, in the role of Violetta, sings with a flexible, vibrant voice, capable of a variety of nuances in dynamics and color.

Bruce Browne
Oregon ArtsWatch, 2018

As Leonora, Aurelia Florian, sounding as gorgeous at the bottom of her voice as at the top, made the final scene into a miraculous example of bel canto. 

Christoph Zimmermann
Opera Magazine, April 2018

Florian displayed vocal strength and dramatic beauty throughout, during touching, warm-toned duets with Ayan’s Alfredo Germont or Rucinski’s Giorgio Germont, and when she expressed gala insouciance early (in Act 1) or tragically accepted her ultimate fate (Act 3).

James Ambroff-Tahan
San Francisco Examiner, 2017

At the apex of the triangle — in Italian opera, there’s always a triangle unless someone tells you otherwise — was Romanian soprano Aurelia Florian making an incandescent U.S. debut in the title role of Violetta, the consumptive courtesan with a heart of gold.

Joshua Kosman
SFGate, 2017

Florian demonstrated that she had all the vocal requisites for the role – a secure legato, brilliant coloratura technique, and, when needed, a voice of spinto power.

Florian enlisted her acting skill to create a portrait of a woman who is plagued by insecurities and self-doubts, even as she achieved a degree of economic security in Parisian society.

Opera Warhorses blog, 2017

Splendidly swathed in a white tunic, Aurelia Florian (Desdemona) was a graceful presence on stage and she gave a beautiful account of her long scene in the fourth.

Alberto Bottazzi
Opera Magazine, March 2016

On the first night, Aurelia Florian delivered a solid interpretation of the title role, negotiating the difficulties of ‘Sempre libera’, bringing real emotion to ‘Amami, Alfredo’ and singing a tasteful, restrained ‘Addio del passato’.

Alexandru Pătrașcu
Opera Magazine, February 2015