Reviews

Eugene Onegin (Tatiana)
Opera Naples

"...Dukach's Tatiana was rock-solid, emotive and beautifully acted. The pain radiated from her face when she was forced to hear Onegin's lecture about her childish feelings in the first act. Then it radiated just as wrenchingly in her voice when she learned his changed feelings too late, after she has married someone else."

Naples Daily News (Harriet Howard Heithaus)

Pagliacci (Nedda) and Carmina Burana (Soloist)
New Orleans Opera

"Inna Dukach was a lovely Nedda, with a particularly attractive upper extension to her voice. A fine actress, she made Nedda a believable figure onstage and perhaps just a tad more sympathetic than usual. It is a welcome change to hear the Nedda-Silvio duet done without the customary cuts, when it is as well sung as it was here."

Opera News (George Dansker)

"Ardent passion was shared between soprano Inna Dukach as Nedda, and baritone David Adam Moore's Silvio, each of whom also brought remarkable voices to their solo roles in "Carmina Burana." As singing actors, they also effectively conveyed the sense of conflict in their illicit love. Dukach was especially delightful handling Nedda's famous ballatella, with all its colorful flourishes."

Times-Picayune (Theodore P. Mahne)

Madama Butterfly (Cio-Cio-San)
Pensacola Opera

"Madama Butterfly has the delicate, exquisite beauty of a finely crafted figurine, and Dukach captures the opera's very soul with a rendering of Cio Cio San that draws us into the character's intrinsic pathos with her every facial expression and gesture."

Pensacola News Journal

La Bohème (Mimì)
Opera Colorado

"There's one compelling reason to see the staging of "La bohème" that opened Opera Colorado's 28th season here on Saturday: the Mimi of Moscow-born, New York-trained soprano Inna Dukach - Dukach has an immediately appealing, youthfully rich and velvety voice that she handles with gorgeously modulated ease."

Boulder Daily Camera -

La Bohème (DVD Review - Musetta) - Covent Garden

"Inna Dukach is a stunning Musetta."

BBC Music Magazine (Michael Scott Rohan)

"Inna Dukach makes an affectionate, coquettish Musetta, acting and singing the role with focus and verve."

Fanfare Magazine (Barry Brenesal)

"The rest of the casting is equally inspired, especially charismatic Russian(-American) soprano Inna DukachÕs take (on) the 19th-century Parisian party girl Musetta."

Toronto Star (John Terauds)

"Inna Dukach as Musetta is a young, flirty tart rather than an all-knowing predatory tart, which freshens up the role enormously. She also pulls off a stunning subito pianissimo in the Act 2 aria..."

Myreviewer.com (Alan Titherington)

Le Nozze di Figaro (Countess)
Hawaii Opera Theater

"Inna Dukach has such a beautiful voice - large, mulled-wine-warm - that it was easy to sympathize with her character. Dukach's 'Dove sono' proved to be a musical high point."

Honolulu Advertiser (Ruth Bingham) - January 2010

"His Countess was ably portrayed by the velvety voice of Inna Dukach. The lyricism and emotional intensity of her aria 'Dove sono i bei momenti' in the third act captivated the audience"

Star Bulletin (Gregg Geary) - February 2010

La Bohème (Musetta)
Royal Opera House, Covent Garden

"It was, however, Inna Dukach's portrayal of Musetta that stole the show. She earned mid-aria applause with a spell binding pianissimo in act 2, and even managed to inject some humanity into the usually shallow man-eater."

MusicOMH.com (Stephen Crowe) - December 2009

"Inna Dukach's delightful Musetta (another house debut) also made a big impression... Donald Maxwell also made the most of Musetta's doddery admirer Alcindoro, but was inevitably upstaged by Dukach's attention-grabbing performance."

ClassicalSource.com (Graham Rogers) - December 2009

"Inna Dukach's Act II Musetta was captivating and never less than in command of her music, but it was in Act IV that she really came into her own, bringing a tenderness and humanity to this rather brittle creature that is too often missed."

MusicalCriticism.com (Alexandra Coghlan) - December 2009

"...received excellent support from Inna Dukach - a magnificently carefree Musetta, who delivered her waltz song with an insouciance and arrogance..."

Musical Pointers (Bob Briggs) - December 2009

"Inna Dukach was a funny Musetta with a nicely free voice."

Musicweb-International.com (Colin Clark) - December 2009

Turandot (Liù)
Savonlinna Opera Festival, Finland

"The best singer (in respect of nuances) was Inna Dukach as Liu, who was exceptionally sensitive in the slave girl's two arias..."

Musicweb-International.com (Gšran Forsling) - July 2009

Eugene Onegin (Tatyana)
Opéra Lyra Ottawa

"(Dukach) was vocally assured and had a firm grasp of the character. The letter scene, in which Tatiana famously and unwisely pours her heart out to Onegin, was exquisite..."

Ottawa Citizen (Richard Todd) - April 2009

La Bohème — Mimì
Opera Naples

"Most important, it offered an irresistible Inna Dukach as the doomed Mimì... Dukach's unaffected voicing and tonal warmth have made her a popular choice for this role, and she infused Mimì with both Friday.

Naples Daily News - January 2009

La Traviata — Violetta
Zagreb Opera Croatia

in translation ("What is so special about this new production of Traviata? The guest soprano Inna Dukach is the genuine embodiment of Violetta. Not only is her technical output impeccable, but as anticipated she (demonstrated) a brilliant coloratura soprano. This artist is very expressive, but in an entirely subtle way. Exceptionally talented, the actress is charismatic and beautiful in a true way - with a mix of fragility, vulnerability, passion, and joy of life. Her acting is delicate and theatrical with finely measured gestures. This demanding part in her execution appears as gentle (light) gossamer because she performs it without any visible effort.")

Kontrapunkt April 2008

Voices of Eastern Europe — Soloist
Eugene Concert Choir

"Most notable in Kodaly's music was the soprano (Inna Dukach), who floated a beautiful high pianissimo at the tranquil conclusion... Dukach (also) sang two Russian art songs, frequently employing her greatest vocal asset, striking pianissimos."

The Register-Guard (Marilyn Farwell) - April 2008

Don Giovanni (Donna Anna) - Opera Carolina

"Soprano Inna Dukach cut a fine figure as the raven-haired beauty, Donna Anna. Her lower range was firm and her voice was even and seamless as it soared up its range. The power and finesse of her voice was well displayed in the aria Or sai chi l'onore."

Classical Voice of North Carolina - April, 2008

"Inna Dukach hurled vocal lightning-bolts with abandon in her revenge aria. But Dukach also had a tenderness that revealed her affection."

The Charlotte Observer - March, 2008

"All three of the Don's conquests had fine moments, but Inna Dukach as rape victim/grieving daughter/reluctant fiancee Donna Anna was by far the most sensational of the soprano trio."

Charlotte Creative Loafing Magazine - April, 2008

La Bohème (Mimì) - New York City Opera

"What a cold little hand, but what warm tones...Inna Dukach was a Mimì capable of singing that was so artless as to be understated, with warm corners to a voice that moved smoothly up and down the staff and was enlisted in the service of the acting."

The New York Times (Anne Midgette) - September, 2007

"Inna Dukach's Mim“ showed an appealing emotional vulnerability, spinning out some of the softer, higher lines (in her Act III "Addio," for example) with a pliant legato. Never appearing to reach for effects, the soprano moved easily throughout her range, with colorful shaping and shading, and had the art of making each phrase sound as though it had just occurred to her."

Opera News (John W. Freeman) - December, 2007

"Inna Dukach's rich, slightly darkish soprano proved an excellent match for Mimì's music, and she invested the girl with a welcome dose of personality.

The New York Sun (George Loomis) - September, 2007

La Bohème (Mimì) - Lake George Opera

"Dukach has a voice that's warm, lush and focused. In her opening aria "Mi chiamano Mimì," one could practically see morning light as she sang of sunshine in April."

The Times Union - June, 2007

"Inna Dukach as the Mimì from her first aria to her dying exhalation, inhabits the character. The voice has a deliciously scented blossom, size enough to fill any auditorium, and she colors her words and voice with artistic brilliance. She's a comer; remember the name."

The Troy Record - July, 2007

"Catch golden-toned Inna Dukach as Mimì

Opera News (Janet Choi) - July, 2007

Wall to Wall Opera - Symphony Space - New York City Opera

"Young talent like Inna Dukach, with a mezzo's dark richness and a soprano's upper extension in "Marietta's Lied" from Korngold's "Tote Stadt"

The New York Times (Anne Midgette) - May, 2007

Boris Godunov (Xenia) - San Diego Opera

"Boris' daughter Xenia, played by Inna Dukach, laments the loss of her recent bridegroom with sadness, heartbreak and a lovely timbre"

The Voice of San Diego - February, 2007

"Not to be overshadowed were soprano Inna Dukach (lovely as Boris' heartbroken daughter)"

The San Diego Union Tribune - February, 2007

"Dukach was an impressive Xenia"

Opera Online - February, 2007

Margaret Garner (Caroline) - Opera Carolina

"Inna Dukach's Caroline was beautifully sung and believable"

Opera News (Luther Wade) - July, 2006

La Bohème (Mimì) - Sarasota Opera

"Dukach is the perfect Mimì: sweet, disarming, strong, and sensitive, with a beautiful, round and opulent voice."

The Longboat Observer - February, 2006

"Inna Dukach pours out Puccini's lovely melodies with lyricism and great control. Her glorious singing adds translucency and luster to the music with golden, liquid tones."

The Venice Gondolier Sun - February, 2006

"Mimì was beautifully played by Inna Dukach. In "Mi Chiamano Mimì", her voice portrayed all the exquisite emotions of the character, while her persona was an ideal blend of hope and fragility... Dukach continued to impress throughout, making these moments moving."

St. Petersburg Times - February, 2006

"Tall and pretty....glowing and expressively sung."

SouthFlorida.com - March, 2006

Rachmaninoff's "The Bells" - Dicapo Opera Theater

"Soprano Inna Dukach brought charm of presence, utterance and timbre to the second song"

Opera News (David Shengold) - December, 2005

La Bohème (Mimì) - Opera New England & Dicapo Opera

"Russian born Inna Dukach as Mimì - a powerhouse - truly! Drop dead gorgeous and fit. Ms. Dukach sang beautifully on both ends of the spectrum and won our hearts with a performance that was truly seductive and hypnotic. "

OperaOnline.us - November, 2005

"Inna Dukach as Mimì sang magnificently and invested her part with great warmth."

Curtain Up (Elise Summer) - October, 2005

Museum of the Russian Renaissance Recital Series - Boston, MA

"Soprano Inna Dukach commanded the auditorium with a voice that was at once powerful and so perfectly controlled that she transitioned with ease from a strong and resonant forte to a barely audible pianissimo without compromising the pure clarity of her tone. It was this tone that held the audience in rapt attention and washed over me in waves, enveloping me in the music."

MetroWest Daily News - February, 2005

Don Chisciotte in Sierra Morena (Dorotea) - Caramoor Opera

"Inna Dukach betrayed her Russian origins with a voice of lustrous resonance as Dorotea."

OPERA (George Loomis) - January, 2005

"Inna Dukach as Dorotea gave a standout solo performance voicing impressive climbs, delicate echoes, and flashes of coloratura."

Westchester Journal News - August, 2004

Verdi's Requiem (Soloist) - Brooklyn Philharmonic, Interfaith Concert of Remembrance

"The brilliant soprano, Inna Dukach, with her spectacular voice and talent expressed such inconsolable grief, melancholy, beauty, and sound as if torn from the heart. It seems that no other soloist could have possibly done the piece justice."

Russian Bazaar - November, 2004

Midsummer Night's Dream (Helena) - Opera North

"Both Elizabeth Batton, who sang the role of Hermia, and Inna Dukach, who sang the role of Helena, gave standout vocal performances. Their stage rivalry, including stripping down to short, sexy silk nighties, was done with humour and expressiveness, and was pleasing to the eye as well. Each of these women was self-confident, strong in their roles, and convincing as actors."

OperaOnline.us - August, 2004

"The brilliant soprano of Inna Dukach's plaintive Helena [was] as rich in voice as it was in humour."

Times Argus, VT - August, 2004

Brahms' Requiem (Soloist) - Greenwich Choral Society

"Inna Dukach displayed a voluptuous and effortless soprano in the fifth movement. Her consistent breath support created an even vibrato and beautiful, soaring legato phrases while her delivery remained simple and direct."

The Greenwich Time - June, 2003

Operatic Comic Foil - What I Like About Jew

"The touch of class was soprano Inna Dukach, whose powerful voice added texture and playful humor."

The Boston Globe - 2003

"Songs on Pushkin's Poetry" Recital - Queens Public Library

"A deep, strong, beautiful voice of unusual timbre, wonderful artistry and a subtle feel for melody. Her voice expressed the full range of emotion of the music. Her Rachmaninov brought tears to my eyes. Inna Dukach is a rising star in the musical world."

The New Russian Word - October, 2002

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