The effect of Luna’s vocal color against sometimes austere string counterpoint was arresting. Luna, a faculty member at Miami University, delivered a riveting performance and projected beauty of sound despite the challenges of the vocal line. The finale was an otherworldly combination of strings creating a spectacular canvas with high harmonics and swirling figures, while the singer’s evocation was rapturous. —Cincinnati Enquirer, Janelle Gelfand
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The results couldn’t have been lovelier. Luna, a lyric soprano with chamber concerts, recitals and symphonic engagements to her credit in America, Europe and Asia, is a charmer of the highest order. —Baltimore Sun
It’s gorgeous music; a nice reminder that Rodrigo, whose Concierto de Aran Juez for guitar and orchestra is one of the 20th century’s greatest hits, was a fine composer and anything but a one-trick pony. The soloist brought them to life beautifully, spinning them out as a master storyteller with gorgeous lyricism in the sad moments and with irresistible perkiness when the clouds lifted. —Baltimore Sun
Luna’s bright, expressive voice also is perfect for Mahler, whose concluding movement to Symphony No. 4 requires child-like innocence but enough vocal heft to be heard over a full symphony orchestra going about its post-Romantic business. Dancing maidens, sumptuous pears, grapes, beans, asparagus and all sorts of skipping and dancing under St. Peter’s watchful eye are part of the vision, and the visiting soprano brought them to life with sweet tone and bright, wide-eyed enthusiasm. —Baltimore Sun
Figaro may control his master, but Susanna controls Figaro, and soprano Audrey Luna dominated, with her light but sharply focused soprano projecting clear, precise diction. —Pittsburgh Post-Gazette
Audrey Luna was his admirable fiancee, full of spirit and finely spun vocalism. —Pittsburgh Tribune
And richly enhanced by soprano Audrey Luna’s lovely soprano voice and sensitive interpretation of the verses describing the joys of Heaven in the final movement, and clarifying the overall integrity of Mahler’s score. —Ridgefield
Luna shimmered through an entrancing gesture- and body-language; before my minds eye she still mirrors ecstacy. —Bremen, Germany
Verdi’s “Rigoletto”: Audrey Luna was musically and theatrically a first-class Gilda. With technical sovereignty and most precise coloratura, she laid before us so much warmth, expression, and sensitivity that it was pure joy. —Orpheus
A highpoint of the day: six “Ariettes Oubliees” of Claude Debussy. The American, who looks like an Andes Madonna sang these beautiful songs with ravishing intensity and a highly impassioned voice. —Saarbrucker Zeitung
Audrey Luna enlivens her singing with many nuances…her singing, sweet and tender, is magnificent. —Weser Kurrier
In Donizetti’s “Elixir of Love”, Audrey Luna portrays an audacious and proud Adina; at every moment, Adina/Audrey had the bull by the horns with a fresh, beautiful sound, and a diversly colorful voice. —Kreis Zeitung
With a well-rounded vocal portrayal, Audrey Luna united the many facets of femininity, from tenderness to palpable scorn. —Weser Kurrier
Audrey Luna as the seduced Innocent sang so purely and tenderly, that one wanted to rush onto the stage to protect her from the menacing danger. —Taz
SOPRANO ASTOUNDS RITTERHUDE MOZART SOCIETY…thanks to striking theatrical talent, her complete feeling for the character was felt all the way to the last row. —Osterholzer Kreisblatt
Audrey Luna together with her pianist continuously found a persuasive tone for the musical prosidy, for the melody and for the natural speech rhythm throughout the thirteen closely knit songs of “Clairieres dans les Ciel” by Lili Boulanger. The composer states in the foreward, “All these songs should be sung with sensitivity to conjure up a past which has remained completely fresh”: the journey from this feeling to the deathly fatalism of the ending was movingly encompassed by the soprano throughout. —Weser Kurrier
In the Shostakovich song cycle on poems of Alexander Blok for soprano and piano trio, the young Texan used the richly timbred and radiantly powerful quality of her operatic voice with great economy. On the other hand, she also brought to the subtle resonance of these poems all the nuances of her pianos: sometimes velvety shadows, at others, spectral clarity. —Saarbrucker Zeitung
The vocal part (of Schoenberg’s Second String Quartet) could not have been cast more ideally than through the clear, shimmer of Audrey Luna’s soprano voice; her oval face framed in long black hair suggested to the audience that they were viewing a painting of Gustav Klimt. —Stuttgarter Nachrichten
Audrey Luna flawlessly accentuated the superior stature of the Hagen quartet with her supple and resonant soprano. —Die Welt
Schonbergs Second String Quartet, dismissed and even scorned at it’s premiere, made a powerful impression with this stupendous interperetation; Audrey Luna was no small part of this. Led by the sensitive string sound palette, she delivered the text of Stefan George with warmth and vocal radiance. —Ludwigsburger Kreiszeitung
In the song cycle, Mr. Corigliano brought a folk icon’s words into the world of art song. It may have been an odd sensation to hear the familiar “Blowin’ in the Wind” and others in a different setting. But, given such a gripping performance, one heard the words in a new light.
The vocal writing in the seven songs was both declamatory and wide-ranging, and Ms. Luna navigated its disjunct lines magnificently. An artist with wonderful presence, she communicated a stunning range of expression, from the machine-gun delivery of “Masters of War” to the touching simplicity of “Forever Young.” —The Cincinnati Enquirer by Janelle Gelfand
Exquisitely performed by soprano Audrey Luna and pianist Brad Caldwell, the work shared the program with Corigliano’s String Quartet. —Cincinnati Post
Ms. Luna and Caldwell, both on the Miami University faculty, captivated with ”Tambourine Man,” which also includes ‘Clothes Lines,’ ‘Blowin’ in the Wind,’ ‘Masters of War,’ ‘All Along the Watchtower,’ ‘Chimes of Freedom’ and ‘Forever Young.’
It’s not Dylan’s music (Corigliano confessed he had never heard it) but a translation into art song, with some tone painting in the piano and heartfelt declamation by the voice.
The final ”Forever Young” was like a gentle rain with a refrain of touching simplicity. —Cincinnati Post