Bianca Tognocchi
soprano
ABOUT
Bianca Tognocchi shines as Amenaide with effortless vocal agility. Her upper register is clear and unforced, while her coloratura flows with remarkable ease and naturalness. Though bright in timbre, her soprano possesses ample warmth, body and projection, allowing it to carry effortlessly through ensembles and over the chorus.
Der Opernfreund
Special mention must go to Bianca Tognocchi as Amenaide. With her expressive, technically brilliant soprano, she infused the drama with vitality, temperament and emotional depth. Every aria and duet became a celebration of vocal beauty, virtuosic coloratura and an extraordinary palette of vocal colors. Her natural stage presence and charisma were equally impressive.
Textor.online
In the central role of Aspasia, Bianca Tognocchi never allows her effortlessly and brilliantly sung ornamentation and coloratura to become mere virtuosity, instead using them to open genuine inner spaces of expression.
Mittelhessen.de
Bianca Tognocchi masters the demanding role of Aspasia with remarkable authority, a part marked by perilous coloratura and wide octave leaps. The soprano displays a voice that is both powerful and agile…
Stefano Borgioli - L’Opera
The best on stage is Bianca Tognocchi as Gilda. A clear and radiant timbre, pleasantly velvety and sweet, impressive agility in the high register, and great dramatic expressiveness.
Giulia Solzi Gaboardi - La Provincia di Cremona
With a perfect vocal technique, Bianca Tognocchi manages to impeccably combine her stylistic confidence with an involving stage presence.
Frankfurter Allgemeine Zeitung
Bianca Tognocchi dominates with artistry the coloraturas and the high notes, convincing the audience and the critics on all fronts. She is young and she embodies perfectly the role, and brings the character to life with great art- and with her excellent vocality! – in the development of Lucia’s madness.
Hr2.de
[…] the coloratura soprano Bianca Tognocchi triumphs on the whole front. The voice does not offer any intermittence, on the contrary, it’s perfectly controlled and uniformed in its emission, natural and talented, capable even of very fine pianissimo and without any stiffness in the high notes.
Everything is combined with a convincing stage presence, and above all in the famous mad scene, where Tognocchi manages a very wide spectrum of emotions with surprising measure and intelligence.
Frankfurter Rundschau
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