"Her voice is dark in hue and alluringly smooth ... a moving beautifully paced account of Tatiana's "Letter Aria" and a final encounter with Onegin in which her turmoil was palpable. (Metropolitan Opera debut) ... a powerful, dark-hued, smoothly controlled soprano voice, secure across the whole range. Most impressive were the range and vividness of her vocal characterizations. (New York Times) ... supreme delicacy, a dignity of bearing. (Covent Garden) ... Her voice is powerful and even top to bottom, lush and rich in their lowest register, sweet and ringing in the top. (Lyric Opera of Chicago)"

Ljuba Kazarnovskaya sings Salome & Four Last Songs by Richard Strauss

"In hearing the Russian soprano LJUBA KAZARNOVSKAYA at the O'Keefe Centre in the title role of Salome earlier this month, it was the elegant lyricism of her voice that impressed. But on Tuesday night, in Kazarnovskaya's performance in the vibrant acoustics of the Recital Hall at North York of Richard Strauss's Four Last Songs - part of the Canadian Opera Company Orchestra's all-Strauss concert - it was the voice itself that worked the magic. Lyrical, indeed, but gloriously rich and impassioned as well, it made me want to rush back to hear Salome again in a front-row seat with my eyes closed."

-- Elissa Poole, The Globe and Mail, Toronto, October 1996

"LJUBA KAZARNOVSKAYA put the audience under her spell with her sensuous, marvelously flowing soprano in all registers. Her 'Schlussgesang' ended as a tender, heartfelt confession of love."

-- Muencher Merkur, June 1995

"Most impressive Vocal Debuts: Italian mezzo-soprano Cecilia Bartoli at the Kenneday Center; Russian soprano LJUBA KAZARNOVSKAYA at Lisner Auditorium."

-- Joseph McLellan, The Washington Post, 1994

Review of Recording: Symphony #14 by Shostakovich

(Deutsche Grammophon CD; Gothenberg Symphony Orchestra conducted by Neeme Jarvi).

" ... and LJUBA KAZARNOVSKAYA, mesmerizingly expressive throughout (her "suicide" is heartstopping)."

-- Alex Ross, The New York Times, January 1994

LJUBA KAZARNOVSKAYA as Tatiana in the Metropolitan Opera's Eugene Onegin:

"Particularly impressive was LJUBA KAZARNOVSKAYA, a Russian soprano making her Met debut as Tatiana. Her voice is dark in hue and alluringly smooth, and she has the projecting power a singer needs to fill the house without forcing. All this made for a moving, beautifully paced account of Tatiana's central "Letter" aria and for a final encounter with Onegin in which her turmoil was palpable."

-- Allan Kozinn, The New York Times, December 1992