Il Trillo Parlante: “Princess Turandot is performed by the great Anna Pirozzi, who returns to the La Scala stage after a 9-year absence. We must wait until the second part of the second act to hear her thunderous voice as she evokes the tragic story of her ancestor. She envelops us with her seductive timbre and then effortlessly navigates the vocal lightning bolts that characterize the three riddles. An excellent performance; we look forward to her swift return to La Scala, perhaps in demanding Verdian roles such as Abigaille, Giselda, or Odabella”

OPERATRAVELLER: “Anna Pirozzi triumphed in the title role. What a pleasure it is to hear a soprano who does not take “quel grido” (that cry) literally and manages to sustain the rest of the phrase without the slightest effort. Her soprano register possesses magnificent amplitude; she rode the waves of choral sound with an almost effortless ease, delivering two spectacular high Cs after Calaf’s victory in the riddle scene, which surely resonated all the way to her native Naples. Pirozzi was also capable of refining her timbre with great elegance…”

CONNESSI ALL’OPERA: “Anna Pirozzi is phenomenal for the power of her high notes and her chiaroscuro phrasing, flawless in the riddle scene and insinuating in the added finale composed by Franco Alfano.”

LE SALON MUSICAL: “Taking on the formidable role of the Ice Princess was Anna Pirozzi. […] Pirozzi outlines a multifaceted Turandot, consistently seeking a phrasing that is deeply pertinent to the text and highlighting the complex character of the protagonist.”

OPERA CLICK: “Anna Pirozzi now has a solid familiarity with the character of Turandot, a role frequently engaging the passaggio (vocal transition area), with numerous leaps to high Bs and Cs that must effortlessly “pierce” the sonic magma of the orchestra and chorus, all of which worked remarkably well this evening. […] Her vocal emission is steady, and her phrasing displays excellent nuances. […] She performed very well in portraying the maiden’s coldness—hieratic, mysterious, proud, and slightly haughty (“Mai nessun m’avrà” or “Straniero, ascolta!”), capricious and childlike (“Non guardarmi così”)—as well as in capturing the sorrowful, melancholic, restless, sensual, and resigned traits necessary in “Principessa Lo-u-Ling,” or the wonderment in “Chi pose tanta forza nel tuo cuore”.
She returns with determination and impact to embody the indignant Princess, rejecting any compromise in the opera’s finale, before melting into the feeling of love with a feverish, impetuous crescendo and a radiant high B-flat.”

SCHERZO.ES: “In the title role, Anna Pirozzi interpreted her demanding part with her customary assurance, maintaining perfect vocal control and mastery until the very end.”

CLASSICAMENTE.IT: “However, it is the stage that ensured the show’s true success.In the role of Turandot, Anna Pirozzi delivered a performance of the highest caliber. Her voice, naturally suited for the role, combines a metallic brilliance—understood as a precious tonal quality—with exemplary control of vibrato and intonation. But it is above all on an interpretative level that her performance stood out: the princess initially emerged as an icy and impenetrable figure, only to progressively crack, allowing a more human dimension to surface after the death of Liù. A coherent and deeply thoughtful character construction, which confirms her as a performer of an excellent standard.”