Ricciardo e Zoraide / Festival Rossini di Pesaro

“La soprano sud-africaine Pretty Yende a remporté de nombreux prix et se produit aujourd’hui sur toutes les plus grandes scènes mondiales. Dès le début de la soirée dans le rôle de Zoraide, elle révèle toute l’ampleur et la variété de son soprano. Elle se joue des aigus de la partition, tourbillonne de vocalises ou déchaine une débauche de colorature, dans une diction parfaite. Elle utilise une vaste palette de couleurs avec une aisance et une limpidité impressionnante, elle atteint des hauteurs vertigineuses et enchaine récitatifs et arias luxuriants d’une seule pièce. Pretty Yende crée des arches mélodiques larges et les emplit de volume.”

Opera Online

“Dans les deux rôles titres, Juan Diego Florez et Pretty Yende sont superbes de virtuosité et d’éclat, et on se réjouit qu’il reste un lieu comme Pesaro pour convaincre des chanteurs d’une telle pointure de prêter leur concours à une œuvre qu’ils ne chanteront sans doute qu’une fois dans leur carrière.”

La Libre

“Pretty Yende is radiant and richly expressive as Zoraide.”

Financial Times

“Pretty Yende, whose bright soprano was exciting and secure, sang Zoraide… she has beautiful super-high notes and a perfect picchiettato, and tended to employ them ubiquitously in her variations. Her legato and breath control were optimal, and her interpretation was a great success. Her love duet with Flórez was maybe the highlight of the evening”


“Yende’s clear-voiced soprano was beautifully set off against the other voices. She embellished her part effectively, and the echo effects in the love duet, when Zoraide repeats Ricciardo’s words, were beautifully nuanced.”

Opera Magazine

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Critical Acclaim: Verbier Festival

“La soprano Pretty Yende clôturait la première partie sur l’air Glitter and be gay de l’opérette Candide de Bernstein. On songe à Jessye Norman pour l’opulence du timbre (cette nostalgie dans la première section de l’air) dans un morceau qui réclamerait une voix un peu plus légère et aérienne. Une soirée qui place la barre très haut pour la suite du festival.”

Le Temps

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Critical Acclaim: Grafenegg Summer Galas

“Doch man war nach Grafenegg gekommen, um Pretty Yende zu erleben – und sie enttäuschte nicht. Obwohl auch sie, ebenso wie ihr Partner Joseph Calleja, gegen Kälte und Wind anzukämpfen hatte, war ihr Auftritt in dieser Arena ein unvergessliches Erlebnis.”

“Yende begeisterte in der Zarzuela „El barbero de Sevilla“ von Jeronimo Giménez mit glasklarer Brillanz und gleichsam spanischem Temperament. Im abschließenden Duett „Parigi“ („La Traviata“) vereinigten sich diese beiden großartigen Stimmen zu einem harmonischen Zweiklang, der das Publikum im „Wolkenturm“ zu wahren Begeisterungsstürmen hinriss.”


“So trat etwa Pretty Yende mit dem bekannten „Kusswalzer“ von Luigi Arditi auf und sang sich in die Herzen der Besucher. Joseph Calleja gab Giacomo Puccinis „Tosca“ zum Besten. Gemeinsam sangen die beiden das berühmte Duett „Parigi, o cara, noi lasceremo“ aus Verdis „La Traviata“ und verzauberten das Publikum.”


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Critical Acclaim: Carnegie Hall debut

“That cathartic moment set the stage nicely for the simple song of the finale, “The Heavenly Life,” as rendered by the rising soprano Pretty Yende. Coming off a triumphant season of Donizetti at the Metropolitan Opera, with starring roles in “L’Elisir d’Amore” and “Lucia di Lammermoor,” she began Mahler’s delightful ditty with natural, childlike tone and sustained an awe-struck, yet restrained mood until the end.

This was in contrast to her stirring account of the Mozart’s “Exsultate, Jubilate,” in which she let loose with a wild cadenza at the end of the first movement that threw pitch to the wind in a nosebleed ascent.”

The New York Times

“The soloist South African soprano Pretty Yende sang the technically difficult music, requiring vocal pyrotechnics and excellent breath control, with a beautiful tone throughout. The orchestra provided an ideal accompaniment, and the performance earned a standing ovation.

The second half of the concert was Gustav Mahler’s Symphony No. 4 in G Major. The joy of Mozart’s “Exsultate, Jubilate” is not found in Mahler’s work. As one might expect from the composer of “Kindertotenlieder” (“Songs on the Death of Children”), his mood tends toward the gloomy. However, his Fourth Symphony begins with the Christmas-evoking sound of sleigh bells and ends with a soothing lullaby sung with true feeling by Yende. If Mozart’s piece was an exhilarating flight to the heavens, the Mahler was like a warm blanket on a cold winter night.”

The Epoch Times

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“Dreams”, Critics’s Choice on Opera News

“Yende’s brilliant technical singing skills continue to mature; more important, here she reaches new depths of interpretation, explores a wider range of vocal colors and finds more warmth in her voice.”

Opera News

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L’Elisir d’Amore / Metropolitan Opera

Ms. Yende sang beautifully from the start, gaining warmth and depth as nonchalance and flirtatiousness developed into love. She deftly executed the acrobatics at the end, with joyous, tumbling high roulades.

James R. Oestreich, New York Times

Yende, the South African soprano who is fast becoming a favorite at the Met, is a natural as Adina. Her flirtatious smile is always playful and her transitions to jealousy and then love for Nemorino are convincing. Her voice has a lilting, silvery quality that is at once bright and delicate, especially her pianissimo passages. In her opening cavatina, reading from the book, she runs through a succession of trills like a race horse. And her duets with Nemorino are at first feisty then tender and loving.

Wilborn Hampton, Huffington post

In the role of Adina, Pretty Yende displayed great vocal agility, soaring and falling with an ease that spoke to the flighty, elusive nature of Adina. This was overall an excellent performance by Yende, who made playing hard-to-get sound splendid from beginning to end.


There was an infectious glee in her acting, and her bright, creamy timbre was employed in a performance of quick-witted verve and bounce, supple coloratura and sunlight.

Seen and Heard International

South African soprano Pretty Yende is no stranger to the Met’s stage, or to the music of Donizetti, and her experience and enjoyment of the role shows in her portrayal of Adina, the beautiful, wealthy landowner who has – to her temporary dismay – captured the heart of poor villager Nemorino. She moves with purpose and an almost constant, brilliant smile, and sings some of the most difficult music of the genre with clarity, warmth, and strength. Her Adina knows herself, takes joy where she will, and comes to discover she’s just a little deeper than she’d thought. Yende’s voice and dimply smile are equally beautiful, and she gives the audience an unreserved share of both.

Suzanne Magnuson, Splash Magazine

Her Adina was a lovely creation from start to finish, the start including notably poised singing in the duet with Nemorino where they sing the pleasant breezes and flowing rivers. Others adopt a more take-charge attitude in Act 1, which can lend greater tension to Adina’s fling with Belcore, but Yende’s demure demeanour paid dividends in the tender momentos of Act 2, sung with pure, sweet tone.

George Loomis, Opera Magazine

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Must-See Classical Concerts This January

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