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.

Lucia di Lammermoo, Semperoper Dresden
Ein Fest der Stimmen

Sie erfüllte die Rolle mit tief empfundenem Leben und gestaltete die gesamte Partie mühelos, ihre Koloraturen „perlten“ nur so. Sie schmückte ihren Gesang nach alter Belcanto-Sitte mit entsprechenden Verzierungen aus, nicht vordergründig, sondern in sinnvoller Weise, ganz im Dienste des Dramas. Ihre Darstellung und erst recht ihr Gesang hatten etwas Berührendes, das der Aufführung Leben und menschliche Wärme verlieh.

Opera Wire
The Queen of Schemakha, Santa Fe Opera
An Impressive Cast In Rimsky-Korsakov’s Masterpiece

Impressive control of her instrument with an upper-register that gleams like jewellery.