Alyona Rostovskaya embodies the furious determination with which Rusalka fights for her transformation just as grandly as the ethereal sides of the water creature. In its intensity and complexity, this title role seems to be made for the young Russian soprano. The facets of her voice, which can sound as delicate as it is dramatically explosive, are already in a class of their own – in combination with her acting presence, this role debut is simply breathtaking.
Silvia Adler, Opernwelt
[…] the casting of the lyric soprano Alyona Rostovskaya is a stroke of luck, because in her performance she combines multifaceted expression with vocal brilliance, including dramatic top notes.
Eckhard Britsch, Mannheimer Morgen
Alyona Rostovskaya conveys the vulnerability of Rusalka, who believes so strongly in her love. With her slender, straightforward soprano voice, which blossoms beautifully in the high register, she is vocally and visually the ideal cast for the title role.
Nike Luber, Rhein-Neckar Zeitung
The Mimì of Alyona Rostovskaya is a discovery.
There are even some veritable vocal discoveries to marvel at. In particular, this is the Mimì of Alyona Rostovskaya. The young Russian, who already sang Tchaikovsky’s Tatjana in her home country at the beginning of her career, has a grace as Puccini’s femme fragile that touches quite directly. Her noble soprano exudes a delicate silver sheen, possesses a delicate natural vibrato – and goes very much to the heart in her singing effect, as the so legendary lyric role predecessors Mirella Freni or Miriam Gauci were once able to do. The enormously concentrated presence of this graceful appearance has something genuinely magical about it.
Peter Krause, Concerti
The Cunning Little Vixen
[…] then Alyona Rostovskaya, with her usually ready-to-defend, sparklingly radiant soprano, answers touchingly quietly and shyly: ‘Yes’. One of the most cautious confessions of love in opera literature.
Jan Brachmann, Frankfurter Allgemeine Zeitung
Turn of the Screw
There is Heidelberg newcomer Alyona Rostovskaya. The governess of the young Russian soprano walks the line between cool blond avenging angel and helpless victim of two evil because damaged children. She also swings elastically (‘How beautiful it is’) up into the stratospheres of the b” (alone) in the ‘Tower’ scene, letting it glitter and shine without much vibrato or sharpness. A great, cultivated voice that will hopefully be carefully developed further.
Stefan M. Dettlinger, Mannheimer Morgen
This new governess, who takes up her post completely unsuspectingly, is sung and portrayed in Heidelberg by new ensemble member Alyona Rostovskaya with all due ambiguity. Her multifaceted soprano plumbs all nuances, her acting talent gives the complexity of this role an appropriate profile in each case. A bravura debut!
Mathias Roth, Rhein-Neckar-Zeitung
I Capuleti e i Montecchi
Alyona Rostovskaya, as the touching Giulietta, used her wonderfully soulful, soft-sounding lyric soprano with great stylistic bravura and good self-confidence. The high notes sounded free and, like the exemplarily placed piani, were harmoniously integrated into the wide carrying vocal lines without any breaks in register.
J.-M. Wernicke, Das Opernglas
The brilliant soprano Alyona Rostovskaya […] was a real asset with her effortless highs, her radiance surpassing even choral elements of the brilliantly sung, compositionally incredibly dense fourth movement of the 1st Symphony ‘A Sea Symphony’ by Ralph Vaughan Williams.
Alfred Kornemann, Der Patriot