Press & Reviews

Press & Reviews

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"The company has found in Puerto Rican mezzo-soprano Laura Virella and Venezuelan American baritone Bernardo Bermudez an instantly believable Frida and Diego. Both are capable singers and actors, compelling onstage."

~Mark Swed, LA Times, June 18, 2017

"Virella is a spectacular Frida, absolutely eloquent in her feminist, liberal, and revolutionary sermons, and fully convincing in her representation of the physical and mental pain that were inseparable parts of Frida's existence."
~Sergio Burstein, Hoy LA, June 26, 2017

"Puerto Rican mezzo-soprano Laura Virella is vibrant in the title role [Frida]." ~Falling James, LA Weekly

"And already, the focus of attention was on Laura Virella, who plays the role of Frida with a conviction and vocal power worth hearing in person." ~Sergio Burstein, Hoy LA, June 14, 2017

"The fine Puerto Rican mezzo-soprano Laura Virella, making her LBO debut, is almost always on stage in the title role, negotiating not only the music but moving around both on her own two legs and by wheelchair. She totally looks and inhabits the part." ~Eric A. Gordon, People's World, June 22, 2017

"Laura Virella is a vibrant Frida with an attractive, plush sound." ~Michael Van Duzer, ShowMag

"Frida [was] played with feisty intensity by Puerto Rican mezzo-soprano Laura Virella." ~Jim Farber, Press-Telegram, June 22, 2017

"Venezuelan-American lyric baritone Bernardo Bermudez and Puerto Rican mezzo-soprano Laura Virella were exceptional in their leading roles." ~Julie Riggott, Culture Spot LA, June 28, 2017

"Laura Virella in the title role possesses a bright, luminescent mezzo that at once conveys Kahlo's passion and her pain. [She gives] completely realized performances, singing and acting with both beauty, when called for, and intensity." ~Jim Ruggirello, Gazettes, June 23, 2017

"Mezzo-soprano Laura Virella is compelling as Frida, and Bernardo Bermudez, a lyric baritone, is a fine match. They don't sing many arias together, but when they do it's hard to resist being pulled in and embraced by their voices." ~Bondo Wyszpolski, Easy Reader News, June 23, 2017

"As Maddalena, mezzo-soprano Laura Virella was totally believable--just as vulnerable to the charms of the Duke as Gilda was--and convincingly persuasive with her brother as she begged him to spare the Duke's life, even as he sings the famous 'La donna è mobile', driving the audience wild."
~Mache Kroop, Voce di Meche, NYC, May 2016

"The fabulous Laura Virella [...]. Virella's Carmen is excellent, as she powerfully begins her career."
~Jorge de Persia, La Vanguardia, Catalunya, July 2015

"Worldwide beloved Kammersängerin Linda Watson impressed with her precise phrasing and interpretation, as did Laura Virella, from Puerto Rico, with her fervent Octavian." ~Apa Hansjörg Spies, Kleine Zeitung, 2012 (Graz)

"Laura has a wonderfully trained voice, a beautiful presence, superb musicianship, and really good diction. However, it was her soulful interpretation that is so stunning it made me hang on every word, every nuance. Singers, especially mezzos, run to hear her when she is in town!!" ~Susan Mardinly, Voice Faculty, The Hartt School, 2012

"Mezzo-soprano Laura Virella, as Luisa [Fernanda], demonstrates an impressive emotional range in her acting as she effortlessly projects nuance from ebulliance to melancholia in her phrasing." ~Rosalind Lacy for DC Theatre Scene, 2011 (After performance of Moreno Torroba's Luisa Fernanda)

"A fresh, healthy voice." ~Ken Benson, 2011 (After performance of Bernstein's Candide)

"As the Old Woman, mezzo Laura Virella was the greatest standout of this show...She gave us singing that was beautiful and acting that was just histrionic enough. Her comic timing was the best of the evening...It was clear Miss Virella was having tremendous fun." ~Taminophile, 2011 (After performance of Bernstein's Candide)

"Laura Virella...used her rich mezzo to great advantage in the hilarious role of The Old Lady..." ~Meche Kroop for The Opera Insider, 2011 (After performance of Bernstein's Candide)

"The title role is sung by silky-toned [mezzo-]soprano Laura Virella, with a sweet innocence that evolves into the fiery indignation of the rejected woman." ~Rosalind Lacy for DC Theatre Scene, 2008 (After performance of Moreno Torroba's Luisa Fernanda)

"All, especially the rich mezzo-soprano Laura Virella,are gifted singers." ~The Washington Times, 2004 (After Jacques Brel Is Alive and Well and Living in Paris)

"[Virella] could very well be singing at the Vienna Staatsoper." ~Luis Enrique Juliá for El nuevo día, 2002
(After performance of Second Lady in Mozart's Die Zauberflöte)

"Laura Virella's Carmen couldn't have been much more sensual without inviting a police raid." ~Tim Smith for The Baltimore Sun, 2002

"Virella, at a very early age, already communicates with transparent sincerity, from her educated and privileged lower register, the fervor of this marvelous doxology text to the Trinity."
~Luis Enrique Juliá for El nuevo día, 2001 (After performance of Vivaldi's Gloria)