This splendid operetta is sung by a vast cast. Soledad de la Rosa composes a Hanna Glawari with solid musicality and very good voice, long and harmonized.

By Eduardo Giorello

Soledad de la Rosa, at the peak of her vocal art
The Tales of Hoffmann, Offenbach, at the Teatro Argentino de La Plata

The positive point of the version was given by the soprano Maria Soledad de la Rosa, who played the role of Antonia last Sunday. Happy circumstance to value, so forceful, her exquisite musicality and exceptional condition of her voice. In our opinion, de la Rosa passes the summit of her art with the added distinction that assures her a rank among the most notable opera singers in the country, that statement is based on its strengths: striking volume, beauty tone, unerring pitch, phrasing captivating and intelligent acting ability. And how could it be otherwise, the public tribute is the greatest ovation.

Juan Carlos Montero

"La Nacion" Journal – Buenos Aires.
Sunday November 23rd, 2008

Figaro returns by their charters
The Marriage of Figaro, Mozart

On the vocal, it was not difficult to recognize the outstanding performance of the soprano Soledad de la Rosa (Countess), owner of a great song line and identified with the haughty and nostalgic loyalty of his character, to make plausible that who most loves, sooner forgives. The deep expressiveness of her legato phrasing made in his "Dove sono ..." something memorable

Héctor Coda

Digital Magazine "Mundo Clásico"
Thursday November 12nd, 2008

A glorious end
Auditorio de Belgrano. Francis Poulenc, Gloria (Soledad de la Rosa, soprano)

Director: Michel Corboz.
Soledad de la Rosa, always efficient and reliable, enhanced with her beautiful tone and safe release of all their holdings, making a work of real worth

Carlos Singer

"La Prensa" Journal - Buenos Aires
June 22nd, 2008

A baroque double testimony

Among the participants in "Acis and Galatea," the work of Soledad de la Rosa with a delicate issue excelled lyrical vocal line and a central register, impeccably sustained.

"La Nacion" Journal – Buenos Aires.
May 31st, 2008

Radiant version of a valuable work of Haendel
Oratorio Judas Maccabeus history of George Friedrich Haendel

The consecrated soprano Soledad de la Rosa reiterated her exquisite musicality, with that angelic tone captivating and invariably causing pleasure to the audience.

Juan Carlos Montero

"La Nacion" Journal – Buenos Aires.
Saturday March 29th, 2008

Lyric fragments, by the National Symphony

The soprano Soledad de la Rosa wore his customary musicality, pleasing color, voice, stop perceiving each aria ( "d Visi art" and "In Quelle Trine morbide") shades of a singer of great sensitivity, which causes immediate pleasure of hearing. Soledad de la Rosa was exquisite in all its interventions.

"La Nacion" Journal – Buenos Aires.
Saturday August 18th, 2007

Faced with a meritorious action
Ninth Symphony in D minor Op 125 ( "Choral") Beethoven. At the Gran Rex theater.

The soprano Soledad de la Rosa, with enviable intonation and vocal projection in her wise phrasing

"La Nacion" Journal – Buenos Aires.
Sunday November 26th, 2006

The Betulia Liberata of Wolfgang Amadeus Mozart

Soledad de la Rosa completed his mission with musicality, with good style solving each
of the arias, while crystal-clear sound and pitch.

"La Nacion" Journal – Buenos Aires.
Friday July 26th, 2006

A master class in operatic singing
Our opinion: Excellent

Soledad de la Rosa left a blunt and listen to their unquestionable beautiful voice, which caused auditory pleasure for its crystalline color, sure intonation and range of inflections and nuances. Furthermore, her expression of poise and confidence in her ability transformed her performance in a real master class in operatic singing.
Since the aria "Par che Nasca in seno," the opera Tamerlano shows the basic factors of good singing, the perfect articulation of the words without resenting the line of phrasing, clarity, rhythmic precision to resolve with the resolution of motifs characteristic of Baroque-style approach involving detailed passages of agility without losing expressiveness, inter alia revealed that the tremendous wealth of resources at the highest level of expertise that Soledad de la Rosa has.
Was also able Soledad de la Rosa, an impact worthy of a celebration of admiration when she offered by heart one of the author's most inspired moments, the aria "Piangerò la sorte mia", which alternates with other parties slow on the fast and bright Coloratura, either committed here, incidentally. This is a summit that remarkable title that is Händel Giulio Cesare in Egitto, perhaps one of the most widespread of the gallery of the author's German operas. The song of the artist led a happy reaction from the public.

"La Nacion" Journal – Buenos Aires.
Friday July 26th, 2006

Mozart and Salieri, memorable
Our opinion: Excellent

The Motet K.165 "Exsultate, jubilate," a concerto for soprano soloist, that the singer Soledad de la Rosa undertook to secure intonation and flexibility of interpretation. By temperament and empathy with the admirable style, De la Rosa reported without apparent difficulty or effort the boundless joy that pervades the movement of this work ends with a flow and a very good vocal projection regulated in elegiac Andante ("Your virginum corona), and with the support of a very well run Camerata, sang the Alleluia with its dizzying heights and delicate coloratura with a joyful spirit.

“La Prensa” Journal – Buenos Aires
Tuesday June 20th, 2006

A great tribute to Mozart

On stage was highlighted mainly the soprano Soledad de la Rosa, whose recording of light-lyrical arias of the printed Konstanze, specially “Marten allen Arten” an appealing musicality, great phrasing and impeccable coloratura notes issued. Deservedly won for her work the warmest expressions of the public.

Néstor Echeverría

"La Nacion" Journal – Buenos Aires.
Friday June 16th, 2006

Una cantante superlativa

The joy was reflected in her face, the poise to deliver naturally crystalline voice and her formidable ability to sing with a rich nuances of phrasing, delicate and subtle sounds from up passages captivating presence were some of the virtues that made the listening soprano Soledad de la Rosa to incarnate to Constance, in the version of "Die Entfürung aus dem Serail" by Mozart, hosted at the Teatro Roma de Avellaneda. But her success was not only safe passages sang with ornaments or for having shown to have a large registration, when arriving at the most acute effortless, but is based on her innate musicality, that gift that is not acquired but part of those who are chosen by nature to be singers.

"La Nacion" Journal – Buenos Aires.
Friday June 16th, 2006

Mozart and Salieri, in a large concert
Our opinion: Excellent

Soledad de la Rosa wore her captivating tone and thoughtful attitude to achieve a volume content.

"Clarín" Journal – Buenos Aires.
Tuesday May 16th, 2006

Soledad de la Rosa was the great figure of the night, as Drusilla, although the soprano imposed the difference from the Prologue, as Virtù.

Federico Monjeau fmonjeau@clarin.com

"La Nacion" Journal – Buenos Aires.
Sunday May 14th, 2006

"L incoronazione di Poppea" by Claudio Monteverdi.

Undoubtless to say, Soledad de la Rosa is, a soprano capable of safely and with solvency music and baroque an innocent girl like any character in the classic Verismo or more passionate. Without excessive vibratos and stripped of unnecessary volumes to her voice she built the character of Drusilla, poignantly in her simplicity and candor, without forgetting that in the “Prologue”, she filled the Teatro Avenida of music to embody the Virtù.

Pablo Kohan

"La Nacion" Journal – Buenos Aires.
Friday August 19th, 2005

Works by Wolf, Liszt, Duparc, Debussy and Carlos Guastavino. Jorge Luis

Borges Auditorium, National Library.
To caress the ears: Soledad de la Rosa came to ratify the merits which were evident with successful interventions in the field of opera and concerts. A singer who leads the public to a caress hearing.

"La Nacion" Journal – Buenos Aires.
Saturday June 25th, 2005

“Clarin” Journal – Buenos Aires.
Saturday June 25th, 2005

"The Tales of Hoffmann" included in its premiere, with the admirable soprano Soledad de la Rosa.

Juventus Lyrica just introduced “The Tales of Hoffmann” at the Teatro Avenida, in the traditional edition Choudens, collecting also the main challenge posed by the interpretation of the work: the three female roles, the automaton Olympia, the sensuous Giulietta,  The innocent Antonia are embodied by the same soprano, in this case, Soledad de la Rosa, admirable in terms of voice and acting.

"La Prensa" Journal - Buenos Aires.
June 25th, 2005

A treasure of the French lyric

In a very hard task, since she took four different roles (Olympia, Giuliet, Antonia and Stella) which is unusual anywhere in the world, the soprano María Soledad de la Rosa sung with freshness and passion, specially in the last act, where beside the virtuossity of the doll, her phrasing and her musical expressivity was brilland indeed.

Carlos Ernesto Ure

"La Nacion" Journal - Buenos Aires.
Saturday June 25th, 2005

Ideal voice for “The Tales of Hoffmann”

One of the outstanding Rosa recreated the essence of each of the female incarnations: as a soprano, coloratura in the doll Olympia (exceptional in addressing highest register, in "Les oiseaux dans la Charmille") or greater lyrics requirements as Giulietta, with a dense melodic line, in a successful second act in which the famous footprint charming Barcarola, an emblematic part of the opera. A Venetian gondola reinforced the suggestive atmosphere of fantasy of the opera. Antonia, the delicate lyric soprano, was also expressive accents.

"La Prensa" Journal – Buenos Aires.
Saturday May 28th, 2005

A brilliant version of Rossini

Carlos Ernesto Ure

"La Nación" Journal – Costa Rica.
Monday February 28th, 2005

The beautiful, powerful and well-modulated voice of the argentinian soprano Soledad de la Rosa, at her debut in Costa Rica, most of the audience that filled the theater, agreed to the singer in the character of Violetta, the protagonist, a beautiful Parisian courtesan.

Andrés Sáenz

“La Nación” Journal – Costa Rica
February 26th, 2005

LA TRAVIATA

... Everyone was cheered after the performance, above all the Argentine Soprano Soledad de la Rosa, who, with a firm dramatic voice, gave life to the role of Violeta Valéry...
... When the performance was over, after 10 p.m., the audience continued to cheer and clap; the intensity grew when Soledad de la Rosa appeared. ...

“Ámbito Financiero” Journal – Buenos Aires
August 15th, 2003

“LAKMÉ”

... I found it wise to have chosen the soprano María Soledad de la Rosa, since she possesses one of the most beautiful voices possibly to be heard nowadays. She emotions and touches the soul with her velvet- coloured communicative voice. The singer manages it dexterously with overwhelming artistic level, leaving everyone content as she not only exhibits her vocal flow and technique, such as in The little Bells but is utterly satisfactory to listen to her from her first intervention to her last one when she dies. ...

“La Prensa” Journal – Buenos Aires 
August 13rd,  2003

“LAKMÉ”

... As an interpreter of a main role, María Soledad de la Rosa has shown her ascending conditions as a soprano lirico-leggero with a smooth linea cantabile. Her glad sound of delicate emotion, discrete in her interpretation which was prominent in the lyric arias as well as in the fioriture. ...

Néstor Echevarría

“La Nación” Journal Buenos Aires
August 15th, 2003

“LAKMÉ”

More info >>>

“La Nación” Journal – Buenos Aires
April 1st, 2003

Héctor Coda

“La Nación” Journal Buenos Aires
July 17th, 2000

MAGIC FLUTE

... The staff showed a general good artistic level with outstanding single interpretations such as the one of the soprano Soledad de la Rosa who sang The Queen of the Night her final nuances in passages of difficult vocal extension were interpreted with amazing self-government. ...

Classic Music Magazine “Cantabile”
September 2000

MAGIC FLUTE

Claudio Ratier