Lucia di Lammermoor at the Bayerische Staatsoper

“Pretty Yende has conquered the stages of the most notable opera houses around the world and as Lucia, she provided the perfect voice for this role. Having a lyrical instrument by nature with a strong centre and dark sound, she had no trouble with a score which is basically written for the middle of the voice.”


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Norina in Paris

“Norina is a long lyrical part with coloratura and high notes and Pretty Yende’s voice suits that task perfectly. She has a powerful lyrical instrument with dark and vibrant hues in the middle register and ringing at the top of her voice. Moreover, she has a wide register (she can maintain a high F), but it is in the middle of the voice and up to high B flat where her timbre shines best.

Her interpretation of her cavatina “Quel guardo il cavaliere” was a cheerful display of good singing: legato lines, clean coloratura, secure high notes and full dedication to her character.”


“Javier Camarena et Pretty Yende triomphent en Ernesto et Norina… Pretty Yende trouve ici un rôle où faire valoir ses talents comiques et sa technique belcantiste. De fait, elle déploie un chant maîtrisé dans ses dimensions : la technique est huilée (précision des vocalises et des aigus), la projection suffisante, les couleurs variées. S’y ajoutent sa constante élégance en scène (surtout dans sa magnifique robe rouge du deuxième acte) et ses talents d’actrice (elle joue à merveille la fausse ingénue comme l’insupportable virago), justifiant le très grand succès qu’elle remporte au rideau final.”


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La Fille du Regiment at the Metropolitan Opera

“Pretty Yende continues to bloom as an artist and demonstrate why she is fulfilling her Cinderella story and in this role she exuded a charismatic energy that is contagious to audiences and that gives her performance great warmth.

Because Laurent Pelly’s production requires so much activity and gymnastics, it is a production that can sometimes hinder the amount of coloratura a singer can give. But not Yende. She not only danced, ironed, pranced and jumped, she gave high notes like not other. She threw off gleaming High Ds that ended first Act and then gave a pair of E Flats in the second act all while lifted in midair. She even interpolated a High F at one point. But while these were impressive feats, what made Yende’s performance compelling was her expressive qualities in her more intimate music.”


“Soprano Pretty Yende creates a delicious contrast between Marie’s tough tomboy exterior and the coloratura girly girl she is inside, stomping around emitting vintage trills, scales and staccati delicate as point d’esprit.”

The Observer

“The coloratura soprano Pretty Yende was wonderful as Marie, the orphaned baby who was adopted by a French army regiment and raised as their honorary daughter (hence the title). She has become an adored mascot to a roster of surrogate fathers.

She sang with gleaming sound, sparkling runs and lots of sass, as well as a gift for physical comedy.”

New York Times

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Paris recital

Le « conte de fée moderne » marketé presque à outrance autour de Pretty Yende, n’entache pas l’aura de la voix veloutée et moelleuse de cette jeune trentenaire qui aujourd’hui est en haut de l’affiche des plus grandes productions lyriques de par le monde. L’artiste a surpris il y a quelques jours au Théâtre des Champs-Élysées avec un récital résolument tourné vers la musique baroque.

Res Musica

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Baroque concert at the Théâtre des Champs-Élysées

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Les Pêcheurs de Perles at the Metropolitan Opera

“In the role of Leïla, suppressed erotic longing is sublimated into pure vocalism lavishly ornamented with arabesques and grace notes. Ms. Yende’s singing has itself much of that birdlike quality, her pert and fresh soprano seeming to alight on each note with dainty precision.”

New York Times

“As the priestess Leila, Pretty Yende displayed the many beautiful facets of her jewel-like voice, thanks to the exotic melodies of Bizet’s score. The audience first sees Yende as a projection upon a wave during the act 1 duet, before making an auspicious, veiled entrance on a tiny metallic boat. As Kwiecien’s Zurga swears her to her new duty, Yende’s responses of “I swear” seemed to melt into the line of the flute. Her numbers toward the end of the first act provided ample moments for Yende to pour forth enchanting tones like a beckoning siren. When met in secret by Nadir, she recoils at first from his advances, with Yende turning away in sync with the sudden beat of a drum from the orchestra.

During her Act two aria “J’etais encore enfant,” Yende sang while holding her veil over her head, towards the audience and away from Nourabad, as if emphasizing her hiding of the fugitive man. She allowed the veil to fall over her head when singing of the promise made with the fugitive; while this prevented the audience from seeing Yende’s face as she continued to vocalize, it was interesting to hear the many sounds coming from her veiled figure.

After her arrest, her exchanges with Elliott’s Zurga were made all the more jarring given the contrast between the modern-but-damaged office and the oriental costume of Yende. This clash of passions also saw Yende deliver a lovely series rising quadruplets as she pleaded for clemency for Nadir; all of this was eventually concluded with Yende, being led off to her execution, rejoicing with a crystalline hue in her voice as she sang the phrase “the gates of Heaven open for me!”


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I Puritani / Gran Teatre del Liceu

“Triunfo también de la sudafricana Pretty Yende en la parte de Elvira, donde mostró una voz de mucha calidad de soprano lírico–ligera, muy bien manejada, destacando en agilidades y mostrando una rara capacidad para emocionar al público con su canto. Su Elvira ha sido espléndida y muy difícil de superar hoy en día. Esta joven cantante tiene un futuro espectacular por delante, si es capaz de cuidarse. A todas sus cualidades hay que añadir una gran facilidad en la parte alta de la tesitura y una figura atractiva.”


“Almost the same level of excellence was achieved by Pretty Yende. She delivered the numerous high notes on her score well, with ease and well-timbred. She did perfectly well all the staccato notes, the octave jumps and all the vocal “madness” required in the scenes where Elvira has supposedly become crazy.”

Opera Online

“Por su parte, Yende se fue metiendo al público en el bolsillo paulatinamente… Yende exhibe un buen gusto, una proyección y una afinación que hace pensar en un futuro aún más brillante que su presente.”


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