Mlada Khudoley

Turandot, Opera Hong Kong

“A convincingly implacable Turandot, Mlada Khudoley has the huge voice the role requires and managed the musical transition from stark (In questa reggia) to lyrical (the duet Del primo pianto) effortlessly.” South China Morning Post

Nabucco, Oper Leipzig

“As Abigaille, this time Mlada Khudoley was heard. Guest engagements led the artist who was born in Moscow to the Metropolitan Opera and to the Royal Opera House Covent Garden among others. She has already sung the role of Abigaille several times – for instance as a guest performance at the Wiener Staatsoper in Tokyo. For the soprano, the breakneck game of Nabucco's alleged daughter poses no problem. She brings with her the necessary clout and throat skill. She also convinces with soft tones, namely, when the dying Abigaille asks for forgiveness of her sins. That sounds so sustainable that you have to forgive her!” Der neue Merker

Turandot, Bregenzer Festspiele

“Mlada Khudoley as Turandot herself sings with the clarity and huge power the role demands, beautifully backed up by the Vienna Symphoniker under the baton of Paolo Carignani” Mark Ronan

“Musically, hardly anything remains to be desired: Mlada Khudoley has a highly dramatic voice with assured pitches and impact, but also capable of lyricism, she expresses the range of icy majesty to loving devotion perfectly.” Der neue Merker

“Mlada Khudoley effortlessly manages the demanding, dramatic part of Turandot. Without difficulty, she masters the vocal range, the transitions between notes, and the flaring high notes.” Kurier

“Mlada Khudoley’s performance presents us with a sophisticated Turandot who expresses highly-esteemed emotions during the central aria, in which she recounts the defining tale of her ancestor.” Vorarlberger Nachrichten

Salome, The New Orleans Opera Association

“Khudoley offered a solidly strong voice that made it clear why she is one of the prime Salomes of her generation. She has just the right measure of delicacy and power for the exacting role, while also being a fine actress to bring the menacing character to life. She has an exquisitely powerful and expressive voice, one that kept blossoming with increasing richness throughout the course of the performance.  As an actress, she captured the character well; a petulant, spoiled child at first, transforming into a cunning vixen aware of her awakening sexuality and the power it has over others.” Times-Picayune

“The soprano's singing is a breathtaking blend of soaring passion and dark low notes that rumble with foreboding. And her formidable acting skills make Salome's tempestuous mood swings believable, painting a sympathetic portrait of a woman driven to madness by an obsession.” St. Paul Pioneer Press

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