Opera Gazet – “Anna Pirozzi’s tone is Italianate and most welcome. Pirozzi was making her official debut, having sung one performance at the Met in 2019, when she filled in for Anna Netrebko in Macbeth. She is a star in Europe and was splendid as Turandot here. The voice is grand and it gets bigger and better as it rises; her B flats, Bs and Cs are gigantic, pitch perfect and astounded with no strain whatsoever. The rest of the voice is handsome and capable of scaling back for some genuine dolce effects. She sings off the text and emphasizes the right words for comprehension. Unlike sopranos like Nilsson and Goerke, the tone is Italianate and most welcome.

Parterre Box – Neapolitan soprano Anna Pirozzi didn’t come out blasting the volume in the opening phrases of ‘In Questa Reggia’ but was meditative and introspective and gradually built the aria to ringing high notes. She kept the voice at a medium dynamic and worked from there. When blasting high Cs were required, Pirozzi delivered ably and without shrillness or forcing. […]Clarity, detail, and musical poise were consistent elements. Her pitch was extremely accurate throughout. She is, to my knowledge, the first Italian ever to sing Turandot at the Met, and this showed in crystalline Italian diction with pure vowels and nuanced use of the text. Let’s not wait another seven years for another listen.

Opera Click – […] Anna Pirozzi established herself as a “human” Turandot, capable of warrior-like impetus but also of suffering and rapturous love. She succeeded because she is not the usual monolithic, Wagnerian-Abigaille-style Turandot, but a complete singer with a dramatic voice that manages to yield to mezze voci. She possesses an elegant, surrendered vocal line, consistently seeking the musical sense of the notes produced. A lyrical Turandot, therefore, who makes the transformation of the princess of ice (or granite) into a woman in love completely credible.

New York Classical Review – More impressive still is the expansive color palette and expressiveness with which she paints Puccini’s vocal lines.
‘In questa reggia’ was all the more impressive for the softness and tenderness with which she sang of the tragic fate of Princess Lou-Ling. When Turandot confronted Calaf in one desperate attempt to dissuade him from claiming his prize, Pirozzi displayed a surprisingly soft, almost innocent approach to aid her efforts. The Italian soprano’s ability to express Turandot’s vulnerability and gradual awakening to the mysteries of love made the opera’s final scene all the more potent.