PRESS

Sieglinde in Wagner’s Die Walküre

Royal Ballet & Opera, Cond. Antonio Pappano, Dir. Barrie Kosky

“How, then, does a performer make her mark while playing a character defined by absence?

The Welsh-Ukrainian soprano Natalya Romaniw provides an answer in Barrie Kosky’s new production of “Die Walküre,” which continues through Saturday at the Royal Opera House in London. She is offering a vividly psychological portrait of a woman whose spiritual core has been shattered, leaving behind a shell of a person, unable to settle in any emotional state.”
The New York Times May 2025

“Natalya Romaniw…is utterly believable as an abused wife somehow finding the courage to rebel. Her final declamation, before being whisked away to give birth to the next instalment’s hero, was the most thrilling vocal moment in this Ring so far.”
The Times ★★★★★ May 2025

“If Romaniw’s incisive Sieglinde is the standout – the Welsh-Ukranian soprano is gaining a more magnetic, energised presence on stage with every role.”
The Guardian ★★★★ May 2025

“As Sieglinde, in her thrilling role debut, Natalya Romaniw, found limitless vocal capacity in their Act 1 ecstasy, riding freely above the large orchestra playing fortissimo.”
The Observer ★★★★★ May 2025

“Welsh-Ukrainian soprano Natalya Romaniw’s Sieglinde is sensational; I’ve never heard the role sung with such pure beauty before. Romaniw was superb in the Royal Opera’s Festen and in Tosca before that. She is fast becoming one of the world’s leading sopranos.”
The Jewish Chronicle ★★★★★ May 2025

“Romaniw…was sublime, lavishing her dark soprano tone on the music.”
Opera Now ★★★★★ May 2025

“Romaniw is infallible in upper-register lustre, committed and poignant in her later distress.”
The Arts Desk ★★★★★ May 2025

Helena in Turnage’s Festen

Royal Ballet & Opera, Cond. Edward Gardner, Dir. Richard Jones

“In the clinching moment of the drama, Natalya Romaniw is eloquent as Helena, the surviving sister, delivering proof of their father’s guilt.”
Financial Times ★★★★★ February 2025

“Natalya Romaniw seizes all possible opportunities in her richly sung and vividly acted presentation of Christian’s surviving sister, Helena.”
The Stage ★★★★★ February 2025

“Christian’s sister Helena, sung by Natalya Romaniw with sweet-toned vocal appeal as well as heartfelt emotion”
Bachtrack ★★★★★ February 2025

“Natalya Romaniw as the daughter Helena is an oasis of tenderness and offers some lyrical reprieve, especially in the scene in which she reads out her sister’s suicide note, resisting any sentimental, fussy sob in the voice.”
Opera Wire February 2025

“Natalya Romaniw perfectly embodies daughter Helena’s inner strength as her voice somehow carries both heartbreak and resolve.”
Art Muse London February 2025

“Welsh soprano Natalya Romaniw as the youngest daughter Helena weaponises her powerful soprano into a tool of accusation as she turns against her father, reading her late sister’s suicide note to the assembled gathering.”
London Unattached ★★★★★ February 2025

“A mesmerizing solo by Natalya Romaniw is particularly memorable.”
Twin Cities Arts Reader February 2025

Title Role in Puccini’s Tosca

Royal Ballet & Opera, Cond. Eun Sun Kim, Dir. Jonathan Kent

“Stars also pierce the sky in the final act of Jonathan Kent’s production of Tosca, which was revived at the Royal Opera in all its sumptuous, shadowy grandeur. Worth seeing? Put it this way: Kent’s staging dates from 2006 and it can only be a matter of time before it’s replaced by something drab, with plastic chairs. For now, though, the cast included SeokJong Baek as a high-octane (vocally, at least) Cavaradossi, Bryn Terfel as Scarpia, and Natalya Romaniw, who stepped in after Sonya Yoncheva withdrew, and gave something close to a career-best performance as Floria Tosca.

Terfel was compulsively watchable, harnessing the stentorian side of his voice to portray a hollow, lurching brute with a face twisted by his own corruption. Romaniw was everything you’d want in a Tosca: proud, impulsive, fearsome in her rage and piteously vulnerable in her tenderness. She had dignity, maintaining a wounded poise even while passion welled up at the core of that sweet, hot voice before spilling out to make the entire theatre quiver. Her murderous ‘kiss’ was both shocking and plausible. We already knew that Romaniw was something special, but this was on another level.”
The Spectator November 2024

“…has a sharpness and purity that shine through touchingly in her aria Vissi d’arte, boldly begun facing upstage.”
Telegraph November 2024

“Callas would approve of this red-blooded Puccini.

Another anniversary could be marked: it’s 60 years since Franco Zeffirelli and Maria Callas created their Tosca at this address, a production that would turn out to be the diva’s farewell to opera. Something tells me Jonathan Kent’s 2006 production won’t clock up the decades like the Zef’s did but I think Callas (also on screens next month as impersonated by Angelina Jolie) would give a regal blessing to Natalya Romaniw’s imperious portrayal of the title role.

The Swansea soprano first donned Tosca’s frocks in this production in 2022 but now she owns the garb, and her portrayal of a celebrated prima donna (which is who Tosca really is) has tigerish volatility. Romaniw produces some startlingly forceful chest notes — Callas would approve — as well as a shining top register. Her tussle with her fellow Welsh star Bryn Terfel, back again as Scarpia, is combustible.”
Times November 2024

“The soprano seems more comfortable than ever in Tosca’s tiara – more playful – and vocally it’s a natural fit: creamy and trembling with emotion in Vissi d’arte, but with the memory still fresh of a gruff darkness at the bottom of the voice.”
iNews November 2024

“Natalya Romaniw brings her peerless soprano to bear on the title role, offering exceptional tonal beauty, plus considerable expressive variety and extraordinary ease of delivery. Dramatically, she summons up a multi-faceted vision of the volatile, fatally jealous diva, delineating Tosca’s complexity with impressive purpose.”
The Stage November 2024

“Natalya Romaniw brings vulnerability and depth to Tosca.

Romaniw brings a rare subtle delicacy and depth of colouring to the title role. Hers is always a vulnerable Tosca, not a wildcat, and she rewards with the loveliest singing of the evening.”
Guardian November 2024

Giorgetta & Sister Angelica in Puccini’s Il Trittico

Welsh National Opera, Cond. Alexander Joel

“Natalya Romaniw’s Giorgetta in Il Tabarro is not only beautifully and stylishly sung– she catches the nuances of a character that is very far from your average put-upon verismo heroine… Romaniw’s Sister Angelica in Puccini’s second panel is, almost literally, out of this world… Angelica’s final Liebestod scene with her dead seven year old son, and complete with heavenly children’s chorus, is an opportunity for a great soprano which Romaniw does not let slip. Her control here, her variety of colour and, above all, her stage presence, which ensured that a scene that can be unbearably mawkish comes across as genuinely moving and, in its modest way, even redemptive: all this is superb.”
Theartsdesk.com October 2024

“Natalya Romaniw is outstanding as Angelica, and the passion she invokes stands in stark contrast to the quieter, steadier music depicting convent life.”
Theatrereviewsnorth.com October 2024

“…Gradually the focus of Romaniw’s Angelica on her son emerged, drawing real fervour out of her. The ending was one superbly judged crescendo and Romaniw’s performance drew us along.”
Planethugill.com October 2024 

“Less than three months after putting on Puccini’s triptych in the David McVicar production originated by Scottish Opera, Welsh National Opera brought it back, with the full three operas staged in Cardiff only, Oxford getting a concert performance and other venues missing out altogether on Il tabarro. A bit of a mess. And a huge shame because one, at least, of the cast changes made such an impact. The soprano Natalya Romaniw was exceptional as Giorgetta (Tabarro) and in the title role of Suor Angelica: her combination of grace and considerable emotional acuity made these portrayals totally compelling. Romaniw has a highly distinctive timbre in the upper voice and an unexpected depth in her lower range, while control of her instrument is such as to make it all sound easy, unleashing the sound with impeccable judgement. As Giorgetta, her acting was understated, having a quiet strength with surges of passion. Mastery of tiny but vivid gestures felt even more crucial to the integrity of her interpretation of Angelica, and the essential tragedy of her betrayal for the crime of falling pregnant. Romaniw’s body language, not least her collapse on learning of the death of her son, was incredibly well managed, and everything in the lyrical flow of her big aria ‘Senza mamma’ – from Giorgetta’s passion – perceptibly different in tonal inflections and on into the transcendent moment of her vision of her dead son was simply heart-rending. It’s rare that curtain calls add a further dimension to a performance, but Romaniw, walking on hand in hand with the little child, calm and serene, seemed here to embody the joy that Angelica had not been allowed to experience. As the icy princess Anne Mason succeeded in perpetuating the aura of cruelty with which her niece had been treated, then carrying off the matriarchal forcefulness of Zita in the hurly-burly ensemble of Gianni Schicchi. As that eponymous fraudster/hero, feel of this final part of the evening, played for as many laughs and slapstick humour as could be injected into the already farcical action. Mark Le Brocq seemed to enjoy going over the top as Gherardo and earlier as the drink-sodden Tinca. Wotek Gierlach again maximized the role of Simone. Haegee Lee returned as an appealing Lauretta, this time with Tristan Llÿr Griffiths as her Rinuccio, big-hearted and open-voiced in his paean to Florence and good sense but made to be so physically bumbling that Lauretta’s devotion was questionable. Alexander Joel conducted with great commitment.”
Rian Evans, Opera Magazine November 2024

Britten’s War Requiem

London Symphony Orchestra and BBC Proms, Cond. Antonio Pappano

“Natalya Romaniw brought great art and fierceness to her solos, effortlessly dominating yet never harsh…. Natalya Romaniw and the chorus sounded almost bluesy in the ‘Lacrimosa’… Natalya Romaniw’s opening of the Sanctus was wonderfully hieratic and ecstatic… Natalya Romaniw’s commanding yet urgent soprano combined with the terrifying chorus and orchestral forces in the opening of the Libera me that combined power and discipline.”
Planethugill.com August 2024

“Natalya Romaniw… With top notes ringing out like a silver bugle, she crowned a tragically relevant act of remembrance.”
The Guardian August 2024

“Romaniw projected powerfully, and never over-compensated for her remoteness from the other soloists with undue stridency. Again, her operatic skills lent colour and character to the mass text, from the urgent menace of “Rex tremendae” to the gorgeously blues-like swoon of the “Lacrimosa”.
Theartsdesk.com August 2024

“Soprano Natalya Romaniw opened the Lacrimosa section with a sound of such dread beauty that one could sense the audience holding its breath in wonder.”
Inews.co.uk August 2024

Title Role in Janácek’s Káťa Kabanová

Grange Park Opera, Cond. Stephen Barlow Dir. David Alden

“Even given high expectations, Romaniw doesn’t disappoint: her soprano is gloriously full-bodied, incisive enough to soar over the orchestra, and she acts the role as touchingly as she sings.”
The Guardian June 2024

“…At the centre is a performance of wonderful emotional and vocal power by Romaniw. She can really ride over Janacek’s full-blooded fortissimos, yet her most telling moments come when she floats beautifully lyrical lines as Katya dreams about a future she will never reach. And her leap into the river is done with such intent that you fear she will be on crutches for the next show.”
The Times June 2024

“Katya’s love, expressed in a rhapsody of fluctuating lyrical writing which Romaniw captures to perfection, echoes the violent palpitations of her heart.”
The Telegraph June 2024

“This production, however, is made by its lead, and Natalya Romaniw shines as Katya. The power of her voice matches the emotion and depth of Janáček’s score, and her final aria before jumping in the river is haunting.”
Culturewhisper.com June 2024

“The Welsh-Ukrainian soprano Natalya Romaniw in the title role should stop anyone wanting to throw themselves in the nearest river, unlike our troubled heroine whose emotional fragility leads to despair thanks to a loveless marriage, a tyrannical matriarch, a passionate affair and unfulfilled dreams of freedom… From her first tortured appearance, Romaniw perfectly captures the awkwardness of Kátya, her sense of defeat and frustration embedded in every movement and vocal nuance.”
Operatoday.com June 2024

Title Role in Strauss’s Ariadne auf Naxos

Garsington Opera, Cond. Mark Wigglesworth, Dir. Bruno Ravella

“…[Natalya Romaniw’s] imperious voice — delectably rich in its lower range, radiantly powerful up higher — ultimately conquers all…”
The Times June 2023

“Natalya Romaniw sings Ariadne with glowing richness, really owning the part.”
The Telegraph June 2023

“Romaniw is an outstanding Ariadne, singing with great depth of feeling and an extraordinary richness of tone over the role’s wide range, her low notes as sumptuous as her upper register is thrilling.”
Guardian June 2023

“Here, the sublimity of [the] apotheosis is realised in some astonishing vocals from Natalya Romaniw (Ariadne)…”
The Stage June 2023

“…it was Natalya Romaniw’s Ariadne… who comprehensively blew the audience away. This was proper high octane, high romantic blossoming-of-love singing… Romaniw produced just as much richness in the depths of her chest voice as she generated warmth in a peaches-and-cream upper register.”
Bachtrack June 2023

“Natalya Romaniw effects a creamy-voiced indifference and torpor as the sorrowing Ariadne, before soaring to heights of elation with firm resolve and heft, as convincing as any great Straussian soprano of the past in the role.”
Classical Source July 2023

“Welsh-Ukrainian soprano Natalya Romaniw luscious in the ever-increasing depths of her voice as broken-hearted Ariadne…”
Culture Whisper June 2023

Title Role in Puccini’s Tosca

Staatsoper Hamburg, Cond. Paolo Arrivabeni, Dir. Robert Carsen

“[Romaniw] impresses with her stage presence, versatile playing and, above all, a versatile and substantial voice, which she uses confidently and easily. The Vissi D’arte gets under your skin… Natalya Romaniw is an enchantingly jealous Tosca… She shows her confidence with her beautiful voice and playful ease. Rightly, she was the focus of the audience’s cheering.”
Opern Gestalten February 2023

Title Role in Puccini’s Tosca

Royal Opera House, Cond. Daniel Oren, Dir. Jonathan Kent

“Romaniw’s Tosca is sumptuously sung. She fills out Puccini’s lyrical lines with creamy elegance, and when she needs to go up a level she has laser-like power. Full marks too for the Callas-like growls when Romaniw delivers her murderous lines to the dying Scarpia. Romaniw’s Vissi d’arte… was stylishly delivered, tapered down to an imploring pianissimo.”
The Times December 2022

“Romaniw is a fine Puccinian. Her diva is playful, kittenish even, with little of the envious harpy and an underlying sense of unaffected piety… Her refulgent soprano possesses great warmth, especially in the plush middle register. The top is steely, but with a fragility that brushes the heart. Vissi d’arte was choked with emotion, in a good way.”
The Guardian December 2022

“Over the last nine years, Romaniw… has been making increasing waves in the operatic world, and her Royal Opera House debut surely crowns her achievements so far. Her soprano combines a luscious quality with a gleaming surface, and she has clearly explored the titular volatile opera singer at the centre of this drama in some depth. While her interpretation will undoubtedly develop further, its coherence and detail already make her an unusually convincing protagonist.”
The Stage December 2022

“Romaniw makes her long-awaited Covent Garden debut with one of the most demanding and best-known roles in the repertoire… There is a distinctive passion in Romaniw’s voice that cuts through the wall of sound in Puccini’s great orchestration.”
Culture Whisper December 2022

Verdi’s Requiem

The Hallé, Cond. Sir Mark Elder

“Natalya Romaniw’s soprano soared seraphically, performing minor miracles of nuance and blend above the stave… She is an artist I would travel far to hear, whatever she was performing.”
The Telegraph October 2022

Title Role in Dvořák’s Rusalka

Garsington Opera, Cond. Douglas Boyd, Dir. Michael Boyd

“In her keenly awaited role debut as Rusalka, Natalya Romaniw sings with power and warmth, appropriately bringing a slightly Slavonic edge to the music… Romaniw is moving in her pain and humiliation as she realises she has become neither a woman nor a wood nymph, and can neither fully live nor die.”
The Telegraph June 2022

“Much of the evening turns on Romaniw’s long-awaited performance in the title role, and she is unquestionably magnificent in it, her voice generous in tone, her delivery rapturous and ecstatic – particularly in the final scene with the equally passionate Schneider, when the pair of them unleash a torrent of sound and emotion that is overwhelming.”
The Guardian June 2022

“Natalya Romaniw was simply sensational as Rusalka. Her soprano is a luxury instrument, husky and rich in the lower register and with a top that soars effortlessly. What was even more remarkable was the complex palette with which she coloured her vocal performance; I have rarely heard so much yearning in a voice.”
Bachtrack June 2022

“Romaniw has set a tremendously high bar with this Rusalka.”
Bachtrack June 2022

“Fulfilling all expectations of her remarkable potential, Natalya Romaniw’s Rusalka combines flawless vocalism with deep engagement: one’s heart goes out to the water nymph who makes a huge sacrifice to enter the world of humans – with disastrous consequences.”
The Stage June 2022

Title role in Janáček’s Jenůfa 

Opéra de Rouen, Cond. Anthony Hermus, Dir. Calixto Bieito, Dir. Nina Dudek

“We succumb above all to the Jenufa of Natalya Romaniw. Her fleshy tone over the entire range and the radiant femininity of her phrasing work wonders, like a palette of affects as accurate in her feverish delirium of the II as in her mystical ecstasies or the blossoming sweetness of her ultimate pardons.”
Díapason April 2022

“The set is dominated by Natalya Romaniw, overwhelming in the title role.”
Díapason April 2022

“To this interpretation of high quality responded the masterful incarnation of Natalya Romaniw… The voice has both the power and the capacity for emotions essential in the title role, and the actress is not to be outdone, so many qualities which make us hope that we will often see this artist again on this side of the Channel.”
Concertclassic.com April 2022

“Natalya Romaniw, who is beginning a rich career across the Channel, seems to play around with the vocal difficulties of the role of Jenufa . The voice appears particularly ample, passing the ramp with fullness, determination and authority.”
Olyrix April 2022

“With her round, indefinite soft timbre that evokes Slavic lasciviousness, Natalya Romaniw gives Jenůfa a dignified femininity, wounded but without excessive affectation, and thus makes one feel a natural warmth that one does not find with such intensity in her surroundings.”
Formalhaut April 2022

“Natalya Romaniw definitely has the voice for Jenůfa, in projection and ease of treble clef pitches.”
Opera Online April 2022

“Natalya Romaniw finally triumphs in the title role of which she possesses all the aspects. The voice is ample, powerful and round over the entire range, based on a tough and powerful breath.”
Forum Opera April 2022

Blanche in Poulenc’s Dialogues des Carmélites 

Houston Grand Opera, Cond. Patrick Summers, Dir. Francesca Zambello

“Romaniw brought a rich, full-throated lyric soprano to Blanche. Her vibrant singing easily conveyed the fervor that welled up within Blanche at pivotal points in the story- for instance, when Blanche faces down her brother, who comes to her convent trying to take her home. In moments like that, Romaniw gave Blanche’s declarations an almost heroic resolve. And when the terror of potential martyrdom beset Blanche, Romaniw’s voice took on an edge that captured that affectingly.”
Texas Classical Review January 2022

“Blanche (capably sung by Natalya Romaniw).”
Houston Chronical January 2022

“Natalya Romaniw, as fearful Blanche, who enters the convert for escape from the world, has an amber glow to her voice, rich and smooth.”
Houston Press January 2022

Title role in Puccini’s Tosca 

English National Opera at the South Facing Festival, Cond. Richard Farnes, Dir. Donna Stirrup

“In the title role, Natalya Romaniw was a complete star. This Tosca was tempestuous and fierce, driven by extremes of passion and envy, vengeance and despair, but Romaniw made such emotions feel so human and real, overcoming the practical obstacles and capturing the audience’s eyes, ears and hearts…‘Vissi d’arte’ held the moment entirely: there was not a shuffle or whisper from the captivated audience”
Opera Today August 2021

“Natalya Romaniw, a diva to her fingertips, was an ideal Floria Tosca, fierily jealous and ferociously vengeful, not least when urging the slain Scarpia to get on with it and “Die!” Vocally and histrionically here was a Tosca to grace any opera house”
Bachtrack August 2021

“Then there was Natalya Romaniw’s Tosca, who had real fire beneath her haughty exterior, and often sounded glorious.”
The Guardian August 2021

“Romaniw shaped Puccini’s lines grandly, high notes ringing; her memorable Vissi d’arte actually did lull the crowds into appreciative silence.”
The Times August 2021

A Night at the Opera 

BBC Proms with the BBC Philharmonic Orchestra, Cond. Ben Glassberg

“Romaniw’s voice positively flew to the furthest reaches of the Royal Albert Hall, her Czech impeccable.”
Seen and Heard August 2021

“It was impossible to resist the emotional pull from Natalya Romaniw’s touching Mimì…she infused ‘Mi chiamano Mimì’ with tenderness.”
musicOMH August 2021

Alice Ford in Verdi’s Falstaff 

Grange Park Opera with Sir Bryn Terfel, Cond. Gianluca Marciano, Dir. Stephen Medcalf

“Romaniw lights up the stage in everything she does, a star in the ascendant, but it’s particularly rewarding to see her in a comic role, where she impresses not only with the size of her peachy lyric-spinto soprano but also delights with her insouciant dispatch of coloratura and staccato runs, normally the province of a much lighter singer. She is Terfel’s perfect antagonist, a radiant voice in the top line of Verdi’s mercurial ensembles, a youthful foil to his veteran suitor.”
The Times June 2021

“In Natalya Romaniw he has a spirited, quick-witted and golden-voiced Alice Ford”
The Guardian June 2021

“It was a stroke of genius to persuade another Welsh personage of increasing renown, Swansea’s Natalya Romaniw, to abandon all the dramatic stuff to take on the pivotal comic role of Alice Ford. She obviously enjoys it, and we certainly enjoyed her.”
Daily Mail June 2021

Cio-Cio San in Puccini’s Madam Butterfly

English National Opera, Cond. Martyn Brabbins, Dir. Anthony Minghella

“The upper reaches of Romaniw’s soprano are anchored by a dark lower register whose shadows add depth to the radiance. […] ’Un bel di’, Butterfly’s agonising credo of hope and faith in her husband’s return, can be played for fragility, but here devastates with confidence as Romaniw wills hopes into certainties. Hers is a mercurial Butterfly, with beauty balanced by anger, instinct and irrationality. Where Minghella asks for the artifice of the smoothly painted geisha face, Romaniw offers it up smeared and tear-stained. The effect is immediate, galvanising: an emotional axis is added to the aesthetic.”
The Telegraph February 2020

“ENO is very fortunate to have persuaded Natalya Romaniw to take on the role for the first time. She is very much a rising star – a soprano with a fine and powerful voice and the acting skills to lead the audience through with her from naïve bride to broken woman.”
Plays To See February 2020

“There’s no doubt that this was Romaniw’s night. Her Butterfly immediately engages without any trace of insipidity. She bears open her vulnerability, her tragically blind dedication to Pinkerton and we sympathise, but her determination and resolve draw the audience to her, inspire just not pity but admiration. She offers not merely a two-dimensional tragic figure, but a woman of genuine courage. Physically she gave a fine performance, absorbing herself entirely into the character with tentative, shy gestures; in particular her easy transition from mannered stillness to unrestrained physicality. Vocally, she was on formidable form, displaying a bright and unforced top and superb phrasing.”
Bachtrack February 2020

“…it is Natalya Romaniw as Cio-Cio San who completely steals the show. With a dominating stage presence and a powerful soprano which puts the orchestra to shame, she flawlessly mingles her soft voice with Puccini’s heart-wrenching music in a way which sounds almost magical. Add to this an impressive tonal register and you know you’re in for quite a ride; her rendition of ‘Un bel dì vedremo’ is flawless.”
The Upcoming February 2020

Title Role in Tchaikovsky’s Iolanta 

Opera Holland Park, Cond. Sian Edwards, Dir. Olivia Fuchs

“Truly outstanding singing from Natalya Romaniw as the blind Iolanta.”
The Guardian July 2019

“Iolanta herself was sung and portrayed most beautifully by Natalya Romaniw.”
The Article August 2019

“Natalya Romaniw’s phrasing was wonderfully in sympathy both with the orchestral swell and the simple innocence of her character: her voice is so smooth and rich across the range as to be utterly bewitching.”
Bachtrack July 2019

“Natalya Romaniw in the title role and tenor David Butt Philip as smitten Vaudémont, are enough on their own to make the whole evening worthwhile.”
The Guardian July 2019

“Natalya Romaniw… was a glowing titular heroine, full-voiced and passionate, absolutely inside the role, her long legato lines thrilling.”
Seen and Heard July 2019

“When we can have Natalya Romaniw (Iolanta) and David Butt Philip (Count Vaudémont), a veritable Romantic dream-team? They may have been attired in white shapeless nightdress and grey stuffy suit respectively, but their glorious singing was overflowing with the fresh, vivacious and sharply defined of the Baroque artists so beloved by the Pre-Raphaelites. The vocal brushstrokes were smooth, sustained and sumptuous. Both paced their characterisation and development effectively: their climactic duet was almost overwhelmingly impassioned and beautiful.”
Opera Today July 2019

“With gorgeous, generous performances from David Butt Philip as the handsome prince and Natalya Romaniw in the title role. Their grand duet at the climax sent shivers down my spine: I don’t think I’ve ever heard such rapturously wonderful singing at Opera Holland Park.”
The Telegraph July 2019

“Because in Natalya Romaniw;s Iolanta and David Butt Philip’s Count Vaudemont… Opera Holland Park have a Tchaikovsky dream team. Lustrous and even, right up to the top of the voice.”
The Arts Desk July 2019

Mařenka in Smetana’s The Bartered Bride 

Garsington Opera, Cond. Jac van Steen, Dir. Paul Curran

“Welsh soprano Natalya Romaniw brings a world-class instrument and a striking depiction of Marenka’s determination to the title role.”
The Stage May 2019

“Natalya Romaniw again proves that she is the outstanding British (or more accurately, Welsh-born, of Ukrainian ancestry) lyric soprano of her generation. There’s a lovely shine and generous amplitude to her singing, and she’s a sympathetic and vivacious actress too.”
The Telegraph May 2019

“When Natalya Romaniw emerged from the womb, the fates probably already had her down as Mařenka, the bartered bride of the title. She obviously adored the role and there’s something wonderful about hearing a light comic role sung by a full blown dramatic soprano who has all the flexibility needed for the fun parts but can then turn on the operatic pathos when needed. Romaniw’s voice is creamy smooth and completely solid”
Bachtrack May 2019

“Is there no end to this amazing singer’s talents? Firm and feisty as the defiant daughter, she melts beside her lover, and her final big number is ravishingly beautiful.”
Culture Whisper May 2019

“Romaniw has a free and powerful lyric voice but she knows how to sing quietly too, to wonderful expressive effect. Her tone is full and warm, at whatever dynamic level. When she sang of her imagined betrayal in Act 3, there can’t have been an untouched heart in the Garsington pavilion.”
Opera Today June 2019

“Pride of place goes to the touching and richly lyrical Mařenka of soprano Natalya Romaniw, a fine Mimi at English National Opera earlier in the season, who gets better with every role.”
The Guardian June 2019

“Natalya Romaniw, the Welsh soprano, played the eponymous bride with a voice of exceptional power and acting skills to match.”
The Telegraph June 2019

Mary in Iain Bell’s Jack the Ripper  

English National Opera, Cond. Martyn Brabbins, Dir. Daniel Kramer

“Natalya Romaniw is a rising star of this generation and she brought her maternal and compassionate Mary to as much life as Jenkins and Bell allowed the character.”
Seen and heard international April 2019

“Rising-star soprano Natalya Romaniw makes a blazing, uncompromising statement as heroine Mary.”
The Spectator April 2019

“Natalya Romaniw is outstanding as Mary”
The Evening Standard April 2019

“Romaniw is the standout in the production, with a strength and clarity to her soprano that is sharpened by her excellent acting. After her wonderful appearance in last year’s La bohème, it is great to see her continuing to excel.”
Broadway World April 2019

“Mary Kelly (sung with tremendous presence and tireless intensity by Natalya Romaniw), whose efforts to prevent her daughter Magpie (a touching performance from Ashirah Foster Notice) from being sold to a vice ring provides a semblance of plot.”
The Guardian April 2019

“Romaniw sings with allure and imbues the drama with sure-fire intensity.”
Classical Source April 2019

“…a thrilling “star is born” performance by the soprano Natalya Romaniw.”
The Times April 2019

Tatyana in Tchaikovsky’s Eugene Onegin 

Garsington Opera, Cond. Douglas Boyd, Dir. Michael Boyd

“Natalya Romaniw may hail from Swansea, but she’s the Tatyana of my dreams, with a rare combination of power, richness, and purity of tone. The marathon nocturnal aria in which she pours out her feelings and condenses them into a girlish letter is exquisitely delivered.”
The Independent

“Her Tatyana is beautifully done… in the final showdown with Onegin, she is by turns vulnerable, imperious and thrilling.”
The Telegraph

“Romaniw is just about everything you could wish for in a Tatyana. Her morello-dark soprano has a lustrous lower register and she has the vocal resources to power through Tchaikovsky’s writing. She delivered a knockout Letter Scene which had me both enraptured and on the verge of tears, encompassing the long phrases with poise.”
Bachtrack

“Natalya Romaniw: a Tatyana as dignified as she is passionate. This young Swansea-born soprano has a mesmerising stillness, a face full of expression and a glowing voice capable of astonishing power: it pays off particularly in her exhilarating Letter Scene.”
Financial Times

Mimi in Puccini’s La Bohème 

English National Opera, Cond. Alexander Joel, Dir. Jonathan Miller

“Romaniw’s is the standout performance in this revival. She phrases with a near ideal mixture of conviction and taste.”
The Guardian November 2018

“Natalya Romaniw soars in revival of ENO’s Bohème.”
“The production gives Natalya Romaniw a house debut to savour, and the Welsh diva conquers London with the radiant bloom of her spinto soprano. She sings with such intelligence.”
Bachtrack November 2018

“With her bright, glowing tone, Romaniw supplies the finest singing of the evening.”
Daily Telegraph November 2018

“Welsh soprano Natalya Romaniw as Mimi, her phrasing, the warmth of her voice, and the wonderful orchestral support bringing a lump to my throat at times.”
Mark Ronan November 2018

“One of Britain’s most exciting sopranos Natalya Romaniw makes her ENO debut as Mimì.”
“As Mimi, Natalya Romaniw brings cool restraint, vulnerability and finally pity with consistently clear, pure tones which are technically secure.”
Classical source November 2018

Tatyana in Tchaikovsky’s Eugene Onegin 

Scottish Opera, Cond. Stuart Stratford, Dir. Oliver Mears

“Romaniw’s performance is gloriously sung from the start.”
The Guardian

“Soprano Natalya Romaniw is stunning in the role of Tatyana. She sings of her character’s newly discovered love and longing for Onegin with a teetering balance of chaste, blissful innocence and deep sensuality, with supple vocal control.”
The Arts Desk

“Star soprano… Natalya Romaniw virtually owns Tatyana, with her big bright Slavic tone and exquisite phrasing. She could even rein in her voluminous soprano at key moments of introspection. Make no mistake, this is a Tatyana in a thousand.”
The Times

“Welsh soprano Natalya Romaniw as Tatyana, giving a simply knockout performance as the bookish girl who pours out her passion to a disinterested stranger. Tucked up to sleep on the battered sofa by Anne-Marie Owens’ Filipyevna, Romaniw’s powerful voice, edged with darkness, made the famous Letter Scene a thrilling star turn. Her farewell as she abandoned the finally lovestruck Onegin was particularly moving.”
Bachtrack

“Romaniw has a fine, excellent deep soprano beautifully tuned to the Slavic tessitura, and she portrayed this tragic character throughout as if she has been singing this role all her young life.”
Seen and Heard

Turnage’s Testament (world premiere) 

Bournemouth symphony orchestra, Cond. Kirill Karabits

“Natalya Romaniw… Last week she was an electrifying soloist in the world premiere of Testament by Mark-Anthony Turnage”
Guardian November 2018

“Soprano Natalya Romaniw, sang with grace and conviction, colouring her voice according to the sentiments of each movement.”
Seen and Heard international November 2018

“The soloist was Natalya Romaniw… Her true and beautiful voice was matched by her ability to colour the anger, yearning and lament of the poetry.”
Bournemouth Echo November 2018

“The young Welsh soprano Natalya Romaniw… delivered the settings with power and clarity, her bell-like tones blending with the percussion-rich orchestration.”
The Fine Times Recorder November 2018

“Performed by rising star soprano Natalya Romaniw.”
Bachtrack November 2018

“The eloquent vocal lines, sung with understated expression and wine-dark tone by Natalya Romaniw.”
Spectator November 2018

“The soloist was Natalya Romaniw, … Her true and beautiful voice was matched by her ability to colour the anger, yearning and lament of the poetry.”
York Press November 2018

“…the soprano, the thrillingly intense Natalya Romaniw, introduced a note of angry, burning intensity, especially in the hectic third song, which sounded like a pursuit. It was a powerfully affecting, dark and yet dignified piece.”
The Telegraph November 2018