• Teatro alla Scala, 2013; Roberta Pacifico, Opera Click - Italy
    “Letitia Vitelaru turned out to be an excellent Giulia, both vocally and scenically, with precise coloratura and high notes. The soprano was not intimidated by demanding directorial requests, such as that of singing while doing gymnastics in time with the music during the duet with Germano. The physique du rôle, adapted to the director's requests, helped the rendering of the character.”
  • Ingrid Haas, Mexico City 2019
    “The Romanian soprano Letitia Vitelaru is already a name that the Mexican public recognizes within the operatic firmament thanks to her two successful appearances with the Ópera de Bellas Artes in 2018 and 2019. She made her debut in Mexico singing the role of Susanna in Le nozze di Figaro by Mozart, and returned a year later to play the four protagonists (Olympia, Antonia, Giulietta and Stella) in Offenbach's Les contes d'Hoffmann. Vitelaru emerged triumphant from the challenge of interpreting all the female roles in Offenbach's opera and made it clear that she has a vocal versatility that allows her to tackle light lyric soprano and pure lyric roles.”
  • Mario Theater of Monaco, Treviso 2018
    “Lucia is the Romanian soprano LETITIA VITELARU: an absolutely excellent voice, steel technique, the acute sector is splendid and the center is soft.”
  • Martina Bet, Express - 2019, United Kingdom
    “Lucia herself was a revelation! The young Romanian soprano Letitia Vitelaru, who studied with the great Mirella Freni at the Accademia della Scala in Milan has a wondrous upper register: she was born to sing this role and gave us a show-stopping Mad Scene in duet with the now infamous glass harmonica - which Dorset had authentically provided.”
  • Donata Musumeci, opera “Il Pirata” Catania, 2019
    “Letitia Vitelaru as Imogene is a soprano who deploys a beautiful and powerful voice in the medium-low register with great control. Good and expressive on stage.”
  • Opera Actual, Madrid, 2021
    “The excellent romanian soprano Letitia Vitelaru shone, as it had to be, who will have to be followed carefully, with a perfectly homogeneous, very beautiful voice, adapted, at least on this occasion, to the drama of the character from the scene with Germont to an extraordinary Addio del passato, sung with extreme concentration and intensity.”
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