Momento Immobile - photo album
Gimadieva, Venera: Momento Immobile

In haar eerste recital op cd wijdt ze zich aan 9 aria’s, 2 duetten en een trio uit het specifieke Italiaanse bel canto repertoire. Ze doet dat met een werkelijk opvallend mooie, niet echt Slavische stem, veel passie, een grote theaterpresentie en volkomen zuiver zingend tot in waanzinscènes toe. Hier wordt een veelzijdig beeld van haar kunnen gegeven en ze wordt zeer attent en stuwend begeleid door het Hallé orkest onder de Italiaanse dirigent Gianluca Marcianò.

Washington National Opera, La traviata
Gimadieva leads a moving Traviata in DC

Russian soprano Venera Gimadieva, making her Washington debut, was a stunning Violetta.  With her tall slender figure and big expressive eyes, she captured attention by her subtle gestures, a turn of her head, and body postures, reacting to others’ words and actions. Her soprano was clear and penetrating without excessive vibrato. She never forced her voice, nor resorted to flashy displays of coloratura. Gimadieva can sing long lyrical lines with continuous breath, quiet composure and absolute stillness, and her high notes opened with radiant beauty and floated into air above the orchestra with seemingly no effort, always hitting the note in the center without sliding up. Her Italian diction was exemplary, and her death scene was most memorable as her dying wish for Alfredo’s happiness came through with poignancy. There was not a dry eye in the house.

La traviata, Washington National Opera
A Shining Violetta in Washington

With a voice that’s all crystal clear, ringing resonance, yet absolutely weightless, she danced through the fioratura of “Sempre libera” without breaking a sweat, and finishing with a perfect high E-flat, then sang with a breathtakingly tender sotto voce in her scene with Germont at “Dite alla giovine,” before opening up later in the act with the broad, sweeping “Amami Alfredo!” while never over-singing. In the final act she offered a gloriously floated high A at the end of simply and beautifully sung “Addio del passato.”

Broadway World
La traviata, Washington National Opera
Exquisite Revival

Violetta is such a compelling character thanks in large part to an ever-watchable Venera Gimadieva. With every note, she commands the stage no matter what other actions are taking place.

Washington Classical Review
La traviata, Washington National Opera
“Traviata” opens WNO season on high note

Searing high notes, velvety legato, and virginal pianissimo all served the drama of the character, a cynical manipulator of men who is surprised to find love. The Russian soprano’s vocal power and subtle acting provided the gamut of expression from her wide-ranging Act I scena “È strano” to the contained, tragic strains of “Addio del passato” in Act IV, a more heart-breaking moment in this performance than the character’s death.

Lucia di Lammermoor, Madrid
Enajenación gótica

Gimadieva tiene una presencia escénica magnética y cuenta con la sabiduría y contención suficiente para hacer creíble a una jovencísima Lucia que podría caer fácilmente en el ridículo. Es sin embargo en las escenas finales donde mejor presume de sus dotes teatrales intensas y descarnadas.

Lucia di Lammermoor in Munich
Lucia di Lammermoor en Múnich

A pesar de lo que sucede con su personaje Venera Gimadieva es de esas sopranos a las que no se les puede poner pero alguno en cuanto a presencia escénica. (…) Gimadieva es sin duda una artista completa en tan diversas facetas que es difícil prever donde encontrará barreras para no alzarse como una de las voces más solicitadas del futuro del género.

Lucia Munich with Juan Diego Florez
Great success for Gimadieva and Flórez

Young Russian soprano Venera Gimadieva was a perfect Lucia to Flórez’ Edgardo. Her voice exuded excitement and anticipation, with a brilliant, phosphorescent top register perfectly suited to the young girl in love. She made an effort in every musical phrase, finding different colours in her voice to suit each moment and the emotion. Nonetheless, her performance was quite natural and believable.

Die Presse
I Puritani, Vienna
Belcantofest im Haus am Ring

Die Russin Venera Gimadieva stellte sich dem Wiener Publikum als Elvira vor und bezauberte regelrecht durch einfühlsamen Gesang, der alle Sicherheit und Virtuosität in Koloratur und Passagenwerk in Ausdruck umzumünzen weiß.

Venera Gimadieva, The Golden Cockerel
A magical Golden Cockerel at the Concertgebouw

Russian soprano Venera Gimadieva, making her Amsterdam debut as the Queen of Shemaka, was ever the seductress, singing her exotic meandering coloratura with a shimmering tone.