• Madama Butterfly at Pittsburgh Opera, October 2018

    "Dina Kuznetsova, in the title role, was brand new to the local stage, and she made an excellent first impression. Hers is a soprano voice of much power and beauty, and in action she developed the role from charming, almost comical naïveté to tragic intensity with great skill. Her voice warmed and improved as the evening progressed, and her delivery of the opera’s best known aria, “Un bel dì vedremo” (loosely, “One fine day he’ll return”), was sung with such thrilling effect that it was one of the few occasions the audience was willing to interrupt the beautiful music of the night with torrential applause. "
    George B. Parous, Pittsburgh in the Round, Oct.7, 2018

    "Making her Pittsburgh Opera debut as Cio-Cio-San (the Butterfly) was Russian-American soprano Dina Kuznetsova, who delivered her arias with inspired legato, tapering the ends of each phrase with finely polished lyricism. She plucked each pitch out of thin air, seemingly effortlessly, with a penetrating but soft tone that caressed the ear and carried through to the back of the Benedum. "
    Jeremy Reynolds, Pittsburgh Post-Gazette, Oct.7, 2018

    Katya Kabanova at New Zealand Opera

    " As Katya, Dina Kuznetsova is superb: a talented actor who is able to convey all of her character’s thwarted longing and naïve dreams, and a singer of wonderful intelligence and fluidity."
    Review by Max Rashbrooke, October 9, 2017, Wellington.scoop

    "Performing for the first time in New Zealand, American soprano Dina Kuznetsova is a breath of fresh air. The entire opera basically revolves around her character and she is often found alone on set; Kuznetsova delivering each and every line with conviction, her stage presence captivating as she embodies the continual swirling emotions of Kátya."
    Sarah Keed, September 16, 2017

    "Dina Kuznetsova sounds glorious as Katya. Everyone was on top of their game vocally and the APO were superb - they got the biggest hand at the curtain call. "
    Radio New Zealand, September 18, 2017

    "The doomed Katya is caught up in their web and her struggle to emerge is charted by Janacek with a subtlety that Dina Kuznetsova understands to the last inflection. "
    William Dart, NZ Herald, September 18, 2017

    Jenufa at Teatro Municipal de Santiago de Chile

    "The soprano Dina Kuznetsova created a sensitive and sweet Jenufa. Possessor of an exceptional lyricism, her voice had the virtue of being a powerful tool in both the lower register and in impeccable legato passages."
    Alejandra Kantor, Elmostrador, May 14, 2017

    Eugene Onegin (Tatyana) at Florida Grand Opera

    "Dina Kuznetsova gave a striking perfomance. She projected her versatile soprano and beautifully phrased singing with great agility and strength, delivering superb pianissimos. Her passion and anxiety during the letter scene were riveting, making us follow her every change of mood and intonation as if she truly were Tatiana, rather than a singing actress."
    Jean-Francois Lejeune, Opera News, April 2017

    "Dina Kuznetsova proved a charismatic Tatyana. She brings a gleaming lyric soprano with an appealing steely edge at the top. Kuznetsova sang Tatyana’s Letter Scene with almost feverish passion and made one really believe she was in love head over heels with Onegin. She projected vulnerability and fierce determination in the final scene when, years later and married to an aging aristocrat, Tatyana rejects the advances of the now repentant Onegin. Her final cry of “farewell forever” was met with immediate applause from the audience."
    Lawrence Budmen, South Florida Classical Review, January 29, 2017

    "Kuznetsova's rapturous voice is lovely and supple, making a triumph of the opera’s most famous scene in which Tatyana has an 18-minute aria as she composes her love letter to Eugene. It is, indeed, a tour de force which earned some of the most sustained applause heard in recent seasons."
    Bill Hirschman, Florida Theater on Stage, January 29, 2017

    "There are enough glorious moments and performers to make this production a must-see. First and foremost is Dina Kuznetsova, a beautiful Russian soprano, as Tatyana. Effortless in her vocal technique, she acts with as much brilliance as she sings. Her "Letter Scene" brings the house down. "
    Jeffrey Bruce, Talkin' Broadway, January 30, 2017

    "Starring as Tatyana on opening night Saturday at the Ziff Ballet Opera House in Miami was the Russian soprano Dina Kuznetsova. She has a big voice, resonant and mature, and she made a strong impression in the letter scene, building surely and steadily to the climax. "
    Greg Stepanich, Palm Beach ArtsPaper, February 1, 2017

    "Dina Kuznetsova superbly delivered the role of the passionate Tatyana in both character and voice: the contrast between the naive and introspective country girl besot with romantic novels, crushed by Onegin, and the honest and sturdy worldly woman that she became, crushing the crusher. One of the most demanding scenes requiring fine-tuned acting chops as well as vocal skill, Tatyana’s letter scene (“Puskai pogibnu”) is a tour de force aria for any daring diva. Kuznetsova navigated it beautifully "
    Steve Gladstone, miamiartzine.com, February 3, 2017

    Rachmaninoff’s “The Bells” with The National Symphony Orchestra

    "Of the three soloists, all making NSO debuts as well, the standout — literally — was the soprano Dina Kuznetsova; her warm, clear voice was able to cut through the masses of sound and make an effect in a way the other two were not".
    Anne Midgette, Classical music critic, The Washington Post, April 16, 2015

    "And wonderful was the word for the performance here of soprano Dina Kuznetsova, whose lustrous voice proved as rich and mellow as those “mellow” wedding bells themselves. She wrapped herself sinuously around her part, nicely assisted by the chorus, which once again engaged in a musical dialogue".
    Terry Ponick, The Music critic and Entertainment Editor for CDN, April 17, 2015

    Turandot (Liù) at Opera Carolina

    "Much more naturally engaging, and obviously one of Puccini’s female favorites, is the faithful slave girl Liù. Dina Kuznetsova sang the part with assured and sweet tones that made one wonder why the stubborn Prince Calàf insisted on loving the cold Turandot".
    Luther Wade, Opera News, January 2015

    "Tanner was greatly abetted by a very sweetly and tenderly sung Liu in Dina Kuznetsova"
    Phillip Larrimore, Charlotte Observer, January 2015

    Madam Butterfly at Atlanta Opera

    “Dina Kuznetsova made her Atlanta Opera debut as Cio-Cio San. She embodied Butterfly’s humility and devotion, infusing each phrase with a roundness of tone and commanding a grand dynamic range. Her “Un bel dì” was exceedingly and convincingly intimate.”
    Stephanie Adrian, Opera News, February 2015

    "Our Cio-Cio San, Dina Kuznetsova, is the sort of singer who commands attention on stage. She has great charisma and a huge, ringing voice with a clarion top. She can portray powerful emotions just with her voice. Her “Un bel dí” was inspired"
    James Paulk, artsatl.com, November 2014

    Dmitri Shostakovich, Symphony No.14, The Saint Paul Chamber Orchestra

    "The most powerful section was Kuznetsova's heartbreaking performance of "The Suicide," a movement built around a poem by Guillaume Apollonaire. Seldom will you hear the weighty sadness of someone contemplating taking their own life expressed so powerfully."
    "Both soprano Dina Kuznetsova and bass Nikolai Didenko compellingly turned each poem into a deeply involving story, each dark night of the soul distinctly different from the last. With the SPCO strings and a battery of percussion eloquently underlining the gripping gravitas, it proved a performance that could cut to listeners' hearts like an Arctic zephyr."
    Rob Hubbard, the Pioneer Press, January 30, 2014

    Madam Butterfly at English National Opera (London Coliseum)

    “It’s Kuznetsova’s unsparing musical performance that really turns you to jelly, however. Butterfly is really three roles in one: the girl in over her head, the lover ferociously in denial, and the abandoned tragic heroine… Kuznetsova has ample volume, passion and intelligence to bring all three to life... If you’re in bits by the end, it’s the diva wot done it.”
    Neil Fisher, The Times, October 2013

    "Dina Kuznetsova is marvellous, the role beautifully sung as such, but also so suggestive of Butterfly's loyalty and innocence, if naive belief, and also the deeper side of things that are important to her, not least a fiery side when hurt or troubled. This is an outstanding portrayal, both vocally (not least Kuznetsova's ringing top notes and control of dynamics) and acting."
    Colin Anderson, The Opera Critic, October 14, 2013

    "Playing Butterfly for the first time, Dina Kuznetsova dominates things far too easily. It's not just her voice, which is gleaming, penetrating and arresting; it's the fact that she puts the English words across more clearly than anyone else."
    Erica Jeal, The Guardian, October 15, 2013

    "Dina Kuznetsova is outstanding in Anthony Minghella's production of Puccini's Madam Butterfly at the London Coliseum."
    William Hartston, Express, October 18, 2013

    “Making her ENO debut, Kuznetsova used her warm, full voice to convey Butterfly’s tender devotion and constancy. She convinced and moved hearts: her soprano is ripe with Romantic lyricism, and full of dusky hues, but as she shows in the second Act, she can also spin a gorgeous pianissimo. Most impressively, she communicated every word of the text; for once the surtitles were largely redundant. ”
    Claire Seymour, Opera Today, October 22, 2013

    "In an impressive house debut, Russian-American Dina Kuznetsova sang a Cio-Cio-San of poignancy and resilience. Her bold soprano voice, spun of unusually dark tonal colouring… proved amply capable of soaring above the swell of the orchestra."
    John E de Wald, Opera Britannia, October 2013

    "Dina Kuznetsova's voice is rich and full and she confidently yet calmly undertakes this mammoth role without strain or force. Top marks to her also for the best diction of the cast."
    Maarja Pehk, Spear's, October 21, 2013

    "...extremely powerful and expansive lyric voice that plumbs the emotional depths of Puccini’s music."
    Louise Lewis, British Theatre Guide, October, 2013

    "Dina Kuznetsova sang a heartfelt and emotionally charged Butterfly… Kuznetsova handles the music very well… She is a great singing actress: I was moved to tears during the second act as she brought out Sorrow for the first time and sang with a clarion beam to emotion into the house."
    Michael Migliore , MusicalCriticism.com, October 28, 2013

    "Dina Kuznetsova sparkles in the lead role and captures moments of tendresse and fury equally brilliantly, her bodily movements never betraying her delicateness."
    Julia Savage, One Stop Arts, October, 2013

    "Dina Kuznetsova is a wonderful Butterfly, with a full-bodied and warm tone that is masterfully manipulated at various points to achieve different colours, without ever losing intensity."
    Marie-Claire Arthur, Plays to See, October 15, 2013

    "With far richer vocal colours and a heartbreaking engagement with her character, the Russian-American soprano Dina Kuznetsova was a revelation as Cio-Cio San."
    Mark Valencia, Theartsdesk.com, October 15, 2013

    Eugene Onegin (Tatyana) at Edmonton Opera

    "...her (Kuznetsova's) long letter scene is absolutely crucial to the opera, both dramatically and musically. She brings to the letter scene just about everything one could ask for — lyricism, frustration, tenderness, gorgeous quiet top notes, a vocal immersion into the romanticism of what she is doing."
    Mark Morris, Edmonton Journal, April 20, 2013

    Francesca da Rimini (Samaritana), The Metropolitan Opera

    "Dina Kuznetsova as Samaritana offered achingly beautiful portrayal."
    Chris Browner, Columbia Spectator, 7 March 2013

    "Dina Kuznetsova’s rich, distinctive soprano made an impact in her scene of farewell as Francesca’s sister Samaritana."
    James Jorden, New York Post, 7 March 2013

    Pique Dame (Lisa) with the Sydney Symphony

    "Soprano Dina Kuznetsova as Lisa has wonderful transparency but without a hint of thinness, creating a multi-hued tone that moves from light flexibility and graceful musical caprice to expressive weight in an instant. "
    Peter McCallum, The Sydney Morning Herald, 3 December 2012

    "Russian-American soprano Dina Kuznetsova's rich-toned singing and sensitive phrasing created an appealing portrayal of the unfortunate Lisa."
    Murray Black, The Australian, 3 December 2012

    Recitals 2012

    "Russian-American soprano Dina Kuznetsova showed off her rich, full-bodied voice last week with New West Symphony. The marvel of Kuznetsova's voice is its ability to reach lower ranges with full-bodied sound, yet produce hauntingly pure notes at the top of her range."
    Rita Moran, 5 November 2012

    "Ms. Kuznetsova gave a dramatic presentation of the Dvořák songs and artfully mastered the challenges of singing in Czech. She emoted with feeling in all of her appearances."
    Cashman Kerr Prince,The Boston Musical Intelligencer, 15 October 2012

    "Six Romances, Op. 38, of Rachmaninoff were given dramatic, projective performances by world-class singer Dina Kuznetsova, with Mr. Tchaidze."
    Rorianne Schrade for New York Concert Review, New York, April 2012

    "Russian-American soprano Dina Kuznetsova gave a grand and soulful performance of Rachmaninoff’s Six Romances. It was a glorious luxury to hear her in the intimacy of the Glenn Gould Studio.."
    Concertonet.com, April 2012

    Glyndebourne Festival Opera 2011 – Rusalka

    "The Russian-American soprano Dina Kuznetsova captures all Rusalka’s burgeoning desire and tragic disappointment and, after a full-throttle Song to the Moon, sang with the golden tone the role requires."
    Tim Ashley, Hugo Shirley, The Telegraph, 29 July 2011

    "Dina Kuznetsova is glorious in the title role, unleashing torrents of sound and emotion in ways that are breathtaking."
    Tim Ashley, guardian.co.uk, 26 July 2011

    "But the real show-stealer is Dina Kuznetsova as Rusalka. Kuznetsova’s bell-clear and shatteringly powerful soprano voice conveys the nymph’s pain and longing in an incredibly moving performance. "
    Andy Wasley, 28 July 2011

    "The evening is very well sung, with Dina Kuznetsova heartbreaking in the title role, Pavel Cernoch in ardently ringing voice as her turncoat prince, and powerful support from Mischa Schelomianski as her father and Larissa Diadkova as a witch."
    David Gillard, www.dailymail.co.uk, July 29, 2011

    "Rusalka’s loving and desperate times are unerringly captured by Dina Kuznetsova. She is a marvellous actress and a fabulous singer. It is difficult to think of Rusalka, whether as sea nymph or as human – with her bitter experiences yet forgiving nature, and her ultimately being lost to two worlds – being better portrayed or better sung than by Kuznetsova."
    Colin Anderson, www.classicalsource.com, July 23, 2011

    "The majority of the cast, as one would expect for an opera sung in Czech (with English supertitles), are Czech or Russian, but the quality of singing is superb, particularly from Dina Kuznetsova as Rusalka and Larissa Diadkova as Jezibaba"
    William Hartston, www.express.co.uk, July 27, 2011

    Eugene Onegin (Tatyana)

    "Russian soprano Dina Kuznetsova gave a stupendous performance as Tatiana, characterized by linguistic nuance, musical command and emotional depth. A misbehaving wheeled bed and a dream apparition of Onegin interrupted her lengthy letter scene, but Kuznetsova rose above it all with superb commitment and a voice of international stature."
    Judith Malafronte, Opera News, September, Vol. 75, No. 3, 2010

    "Much of the musical tension in Eugene Onegin emanates from her long, emotional arias, each of which she wrings out completely, from dramatic wails to quiet sobs. It was a classic soprano performance for which the opening-night audience showed appreciation at every opportunity."
    Riverfront Times, June 2, 2010

    "Kuznetsova, a Russian soprano who fearlessly took on her role in English, performed as if Tatiana had been written for her in one of the more memorable company debuts of recent years. Her voice is big, rich and well-produced; her portrayal was nuanced and touching, developing from the shy girl immersed in romance novels to a self-assured young wife with the courage to walk away from Onegin’s belated declaration of passion. Her pivotal Letter Scene was both spell-binding and flawlessly, idiomatically sung."
    St. Louis Today, May 30, 2010

    "The city of Lille has marked the Year of Russia in France. Lille opera theatre has produced Peter Tchaikovsky’s "Eugene Onegin". "It is the best beginning of the Year of Russia in France", - the local newspaper writes. Tatyana's part in the opera is performed by the brilliant Dina Kuznetsova, whose duet with Norwegian Audun Iversen, who plays Onegin, is very impressive. After Lille, the production will tour other French cities. "
    Lille, "Voice of Russia", 2010

    Falstaff (Alice Ford) at Glyndebourne Festival

    "I liked the Alice Ford of Dina Kuznetsova: [the voice] has natural warmth and her musical phrasing was excellent"
    MusicalCriticism.com, July 12, 2009

    "Dina Kuznetsova, meanwhile, is a delightful tour de force as an Alice who radiates good-natured intelligence. (Glyndebourne Festival Opera, "Falstaff" )"
    Ash Khandekar, Opera Now, May 22, 2009

    Eugene Onegin (Tatyana) at Lyric Opera of Chicago

    "Soprano Dina Kuznetsova…is a brilliant Tatyana from her first entrance. She takes the famous Act 1 "Letter Scene" by the throat and as a singer and actress never lets it go physically, vocally or emotionally."
    Andrew Patner, Chicago Sun, March 19, 2008

    "the Russian-born soprano [developed] a Tatyana of affecting vulnerability, poignancy and grace. The Ryan Center alumna gave the extended Letter Scene everything she had, refining the voice to a silvery sliver, soaring in rapturous song. It will be difficult to forget the exquisite diminuendo she sustained in the final scene."
    John von Rhein, Chicago Tribune, March 3, 2008

    "Dina Kuznetsova sang gloriously as Tatyana, her honeyed lyric soprano glowing and idiomatically responsive to text and music alike. The Letter Scene was beautifully done and earned a huge ovation from an appreciative audience. (Lyric Opera of Chicago, "Eugene Onegin" )"
    Mark Thomas Ketterson, ConcertoNet.com, March, 2008

    "As Tatyana, Dina Kuznetsova augmented her fine musicianship with an earnestness and sincerity that made her role as believable as Hvorostovsky's Onegin. Kuznetsova's phrasing was remarkable in both expressing the music and shaping the text. Her range of dynamics, articulations, and vocal color gave the familiar number a rare sense of dimensionality - in fact, the audience for this Lyric premiere almost seemed to breathe with her in this scene, and burst into an almost instantaneous applause at its conclusion. (Lyric Opera of Chicago, "Eugene Onegin" )"
    James L Zychowicz, Seen and Heard International Opera Review , March, 2008

    "Eugene Onegin's emotional centerpiece is the so-called "letter scene" in Act 1. When the youthful Tatyana pours out her love, in writing, for Onegin, Kuznetsova handles this lengthy aria beautifully. Later, Kuznetsova is equally as convincing in her rejection scene. (Lyric Opera of Chicago, "Eugene Onegin" )"
    Bill Goven, Daily Herald Classical Music Critic, March 2, 2008

    "Dina Kuznetsova proved an abundantly satisfying Tatyana. The letter aria was impulsive and girlishly rendered, and a finely calibrated diminuendo in the final scene was one of the vocal glories of the evening. (Lyric Opera of Chicago, "Eugene Onegin" )"
    Mark Thomas Ketterson, Opera News, May, 2008

    Magic Flute (Pamina) at San Francisco Opera

    "Dina Kuznetsova, an outstanding Pamina, is blessed with a beautiful sound and an expressive sensibility. (San-Francisco Opera, Magic Flute )"
    Anna Carol Dudley, San-Francisco Classical Voice, October 16, 2007

    "Soprano Dina Kuznetsova was a poignant Pamina, her dark, sumptuous tone lending an air of majesty to the performance. (San-Francisco Opera, Magic Flute
    Joshua Kosman, San-Francisco Chronicle Music Critic, October 15, 2007

    Gianni Schicchi (Lauretta) at Royal Opera House Covent Garden

    “The only pause for breath is Lauretta’s song, showcasing the lovely Dina Kuznetsova in an auspicious Royal Opera debut.”
    Andrew Clark, Financial Times, April 1 2007

    “Dina Kuznetsova gives a delightfully supple account of O mio babbino caro”
    Richard Morrison, The Times, April 2, 2007

    “Fresh young voices like those of Saimir Pirgu and Dina Kuznetsova as the young lovers brighten the ensemble.”
    Edward Seckerson, The Independent,April 2, 2007

    " The performances are superb. Russian-born soprano Dina Kuznetsova is sparky and winsome as Schicchi's daughter Lauretta, and she sings ``O mio babbino caro'' with winning charm. "
    Warwick Thompson, Bloomberg, April 03, 2007

    Romeo et Juliette at Lyric Opera of Chicago

    "Soprano Dina Kuznetsova ran away with the opera Saturday, singing with a supple line, silvery lyricism and refined ornamentation that illuminated Gounod's gossamer French idiom the way a sunbeam reveals the delicate intricacies of a spider web. She glided gracefully through the opera but with enough backbone and stamina to morph from girlish teen to an erotically awakened woman willing to give her life for love. (Michigan Opera Theatre, Romeo and Juliet)"
    Mark Stryker, Detroit Free Press, June 04, 2007

    "Some of the singers are exeptional in all respects, one of them being Juliet, performed by Russian-American singer Dina Kuznetsova on opening night. She manages to convince the audience of her youth as well as her emotional sincerity (Michigan Opera Theatre, Romeo and Juliet )"
    Ruth Crystal-Zaromp, The Monitor, June 07, 2007

    “The Lyric’s typically excellent cast is headed by Russian soprano Dina Kuznetsova…In addition to her several duets with Romeo, Kuznetsova delivers a poignant “Amour, ranime mon courage” as she takes the sleeping potion in Act 4.”
    Bill Gowen, Chicago Daily Herald, November 22, 2006

    "Both Kuznetsova and Polenzani sang splendidly, and their blending of voices, always secure, made the refinements of Gounod's vocal writing fall gracefully on the ear…Kuznetsova matched him [Polenzani] with the freshness and radiance of her singing, notably in a Waltz Song that was as commanding as it was charming. She and Polenzani brought affecting intensity to their final duet, Romeo reaching out to Juliet as she expired on her tomb. You could feel their young lives draining away as they sang."
    John von Rhein, Chicago Tribune, November 21, 2006

    Rigoletto (Gilda)

    "There is, within a soprano's reach, a sequence of sounds, absolutely pure tones, which elevate and inspire. Dina Kuznetsova's voice rose to that pitch and stayed, beauteously poignant. Especially moving was her duet with her father, Rigoletto, played by the impeccable and masterful baritone, William Stone. Kuznetsova sang so beautifully, her voice reminded me of Maria Callas singing Saint Saens' "My Heart Moves at the Sound of His Voice" from Sampson & Dehlia, recorded live in Lisbon, Portugal. What human heart wouldn't soar when a soprano nails the tune?"
    William M. Connolly, OperaOnline.us, November 2005

    "Gilda was sung by Russian soprano Dina Kuznetsova, who at every moment embodied the grace and innocence of her character. Her voice was bell-like, shining and clear and blended smoothly in duets first with her father and later with the Duke. Her solo, the charming "Caro nome," which is sung while she still believes the Duke is a student, was a tour de force. First she sprawled on her little bed like a schoolgirl, then danced around her room, all the while displaying a thrilling vocal stamina, with runs and trills to spare"
    Dorothy Andries, Pioneer Press Online, January 26, 2006

    "The prettiest voice is Dina Kuznetsova’s. She gilds Gilda’s famous "Caro nome" ("Dear name") with exquisite pianissimo trills""
    Lloid Schwartz, The Boston Phoenix, November 2003

    "The most interesting of the principals is soprano Dina Kuznetsova, a tiny creature with a heart-shaped face that registers feeling with frightening immediacy. Her voice is particularly lovely when she sings softly, and she knows it …"
    Richard Dyer, Boston Globe, November 2003

    "Dina Kuznetsova's Gilda was an attractive innocent, fatally harmed by Rigoletto's obsessive protectiveness, the Duke's treachery and her own naive romanticism. Her voice had bloom and freshness…"
    Wynne Delcoma, Chicago Sun-Times, January 23, 2006

    "Dina Kuznetsova, the star Lyric Center alumna who sings Gilda, is fully believable as a flesh-and-blood adolescent in the flush of first love, steadfast even when realizing the man she loves has repeatedly betrayed her."
    John von Rhein, Chicago Tribune, January 23, 2006

    "Dina Kuznetsova displayed a lovely messa di voce as Gilda, her youthful instrument underlining a more lyric approach than the too-frequently-encountered coloratura doll."
    Mark Thomas Ketterson, Opera News, April 2006

    "Kuznetsova perfectly captured Gilda's girlish innocence, both in action and singing, and her earnest dedication to her father. Her brightest-shining moments were, predictably, in the second act, though they were as much in touching duets with Dobber and Lopardo (pretending to be a penniless student suitor) as in "Caro nome" ("Dear name in my heart"), the coloratura tour de force which fulfilled its traditional role as a show-stopper. The contrast between her bubbly girlishness with Dobber and lyrical passion with Lopardo captured the essence of a budding teen."
    Thomas Consolo, The Cincinnati Post, July 22, 2005

    "Soprano Dina Kuznetsova, as Rigoletto's virginal daughter Gilda, was the strongest of the cast members. She is more a lyric than a coloratura soprano, and avoided a few of the high notes usually taken by more agile Gildas. Yet, she used her beautiful pianissimo to great effect, particularly in the final duet with Rigoletto. She was also a convincing actress, portraying a sympathetic and believable heroine."
    Ed Tapper, Bay Windows, November 14, 2005

    "Dina Kuznetsova was a charmingly girlish Gilda and she looked the picture of innocence in her pretty pink dress. She has a significant vocal talent, too, as was evident when she sang the pyrotechnics of the 'Caro nome' and when her voice soared over the ensembles."
    Maria Nockin, Opera Japonica, July 29, 2005

    La Traviata (Violetta)

    "Dina Kuznetsova, making her debut in the role of Violetta, was impressive. It's a voice with a certain amount of meat in it, and she used it with intelligence and dramatic flair."
    Timothy Mangan, Opera News, August 2005

    "When soprano Dina Kuznetsova begins singing, all the tawdriness of the sets vanishes, every vice becomes a virtue. That, of course, is why opera still thrives. A voice like Kuznetsova's, young and fresh and supple, sparkling with flashing brilliance, capable of power without harshness, with a softness that is still clearly audible, and with room to grow into a great instrument, is what brings audiences into the hall."
    John Farrell, Correspondent U-Press Telegram

    "The role of Violetta represents one of the supreme vocal and dramatic challenges to an opera singer. The Lyric's Dina Kuznetsova is a lyric soprano who comes into her own in the quiet, intimate passages, singing the great duet of renunciation in the second act and nearly all of the death scene with glowing tones, strength of feeling, and delicacy of expression."
    Richard Dyer, The Boston Globe, April 2006

    "Russian soprano Kuznetsova seemed to inhabit Violetta’s persona with her extraordinary command of one of opera’s most challenging roles. A singing actress of remarkable gifts, Kuznetsova used her supple, lustrous soprano with polished technique and resourceful, expressive nuance. Her voice rang strongly and accurately without a hint of wobble throughout the evening and she showed individuality of phrasing and detail. No vocal demands seemed beyond her, from the coloratura acrobatics and high notes of Act I to the dramatic confrontations of Act II and the Act III death scene in which she artfully used a voice drained of color. And Kuznetsova seemed able to sing from any physical position. For example, she began the Act I bravura aria ‘‘Sempre libera’’ while sitting and daringly ended it by slowly retreating, back to the audience, to the rear of the stage. At the end, she made you want to weep for Violetta’s plight, ending with a dramatic dying fall to the floor."
    Peter Knapp, The Patriot Ledger, April 2006

    "Soprano Dina Kuznetsova was compelling as Violetta Valery, her big, beautiful voice capable of negotiating both intricate coloratura passages and bel-canto legato. "
    Mark Kroll, April 2006

    "Dina Kuznetsova steals the show in Verdi's, La Traviata, performed by the Boston Lyrical Opera. As the courtesan, Violetta Valery, Kuznetsova moves, sings, and acts with such talent that to define what she does as a performer is tantamount to defining what makes Monet such a great painter. It is impossible to know if Kuznetsova is moving or dancing, singing or speaking, acting or being when she performs. She is beautiful. Her voice is an endless tap. She has brilliant stage presence. Kuznetsova sets the tone of the performance; when Violetta is happy, the audience is happy; when Violetta is sad, the audience is sad. Kuznetsova is humble too; she acquiesces when Violetta is not the center of attention. Best of all, Kuznetsova is entirely convincing; she is Violetta. "
    Andy Metzger, The Mass Media, April 10, 2006

    " Kuznetsova created a harrowing portrait that was subtle, elegant and touching. In the opera’s final act, she became both ghost and angel; as she struggled to catch her breath, the audience held theirs. Vocally, Kuznetsova met the role’s demands with command and true presence. She tossed off the coloratura with brilliance and agility, and in Act II’s “Dite alla giovine” and “Alfredo, Alfredo, di questo core” she called up a reservoir of deep feeling, longing and emotional fragility."
    Wayman Chin , Opera News, June, 2006

    "Kuznetsova's extraordinary vocal range and power - she tosses off cadenzas as casually as earrings after a long night out partying, while moments later she belts out anguished yelps when forced to part from her unrivaled lover - merely leads this production's many splendid charms. "
    James A.Lopata, In Newsweekly, April 12, 2006

    The Cunning Little Vixen at Lyric Opera of Chicago

    "Singing firmly and with some fluency, Dina Kuznetsova gave a winning performance in the title role, effectively delineating the Vixen’s freely independent spirit and bewitching femininity, although in a very few places orchestral density won aural dominance over her silvery lyric soprano."
    Mark Thomas Ketterson, Opera News, February 2005

    "Dina Kuznetsova has a captivating personality which recently wowed the hearts of the city of Chicago when she sang the title role in the Lyric Opera’s production of The Cunning Little Vixen."
    John DeMain, Artistic Director Opera Pacific

    "Russian lyric soprano Dina Kuznetsova is adorable as the Vixen. She can act and sing, and is able to carry off the tortuous high tessitura of the role with astonishing ease. She is clearly a talent on a meteoric trajectory."
    Paula Citron, Chicago Opera Review

    "Kuznetsova brought a strong soprano and nimble antics to the role of the Vixen."
    Wynne Delacoma, Chicago Sun-Times, November 19, 2004

    "Soprano Dina Kuznetsova, as the Vixen, is his nemesis and inspiration. Her arias are like heightened folk songs. Kuznetsova lavishes upon them subtle colors, pliant dynamics and a legato that binds the notes into melodies as palpable as flesh and earth."
    Tom Strini, Journal Sentinel Nov. 18, 2004

    "With her luscious, wide-ranging soprano, Kuznetsova makes an irresistibly feisty and charming Vixen, agile of limb as well as voice, scurrying around without missing a beat of her music; this is her great breakout role at Lyric."."
    John von Rhein, The Chicago Tribune, November 18, 2004

    I Capuleti ed I Montecchi (Juliet) at English National Opera

    "It was easy to believe this Juliet’s distress, as Dina Kuznetsova poured out her emotions in a stream of melody and coloratura that was a joy to hear."
    S & H Opera Review, June, 2002

    " "She sings with elegance and imagination... and her Juliet is a dream."
    The Telegraph, London, June, 2002

    "As Juliet, young Dina Kuznetsova proved a wonderful discovery, adding a whole repertoire of pathos-laden period airs and graces to her exquisitely tinted vocalisation and delicate phrasing, playing out the role as if in a fully-staged performance. "
    David Murray, October 9, 2003, London, Financial Times

    Other Acclaim

    "Soprano Dina Kuznetsova, accompanied by Derek Han, was a splendid soloist, singing with fervor and beautifully judging the small hall's acoustics -- each vocal attack was scaled for maximum impact without a hint of oversinging."
    Joshua Kosman, San Francisco Chronicle

    "There can be no doubt Dmitri Shostakovich's "Seven Romances on Poems by Aleksandr Blok" was familiar to almost no one in the audience. Yet the power of this lean and intense music, setting poetry of great tragic weight, held us transfixed as various combinations of instruments shared the stage with a dark and powerful Russian text conveyed by a soprano voice.
    Dina Kuznetsova possesses a vocal instrument of exceptional richness and power, muscular enough to soar through the wide range of this angular music and flexible enough to provide shadings of color and dynamics admirably suited to the emotional texts."
    Richard Storm, Herald-Tribune.com, April 21, 2006

    "With the first two notes out of her made-for-singing mouth, soprano Dina Kuznetsova absolutely wowed SummerFest listeners. The first was mellow midrange springboard, and the second, a melting, high pianissimo."
    Charlene Baldridge, La Jolla Village News, August 17, 2006