“Among the soloists, the evening possesses an undisputed emotional center: Julia Stuart as Liù. Her soprano has a slightly dark undertone, sufficient dramatic substance to remain present in this large orchestral space, and the suppleness for Puccini’s long, cantabile lines. Crucially, Stuart does not sing a static Liù. She portrays a development… The character is exhausted. The voice conveys weariness without becoming technically fatigued… Her death is one of those rare operatic moments in which the protective space between stage and auditorium becomes porous for a few instants.”

 

WOCHENBLATT-REPORTER.DE

by Marko Cirkovic 

Liù, Turandot, Oper Frankfurt

 

 

“Liù receives the lion’s share of the applause at the curtain. This is entirely deserved after the superb performance of Julia Stuart… She brilliantly confirms her lyrical and dramatic qualities, creating a powerful emotional impact… Her heart-wrenching ‘Tanto amore, segreto… Tu, che di gel sei cinta’ already earns her a resounding ovation.”

 

CULT.NEWS

by Helene Adam 

Liù, Turandot, Oper Frankfurt

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“Julia Stuart is a wonderful discovery as Liù: her endearing theatrical performance is combined with a supple voice, whose high notes are draped in velvet, as well as great musicality. Her vibrato is a perfectly regular and stable sine wave, while her phrasing mirrors the gentleness of the character’s soul.”

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OLYRIX TOUT L'OPÉRA EST LÀ

by Damien Dutilleul

Liù, Turandot, Oper Frankfurt

 

 

"Julia Stuart as a chambermaid (staff chief) shone with tremendous stage presence and strong voice in the ensembles and finals."

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OPER AKTUELL

By Erstellt von Kaspar Sannemann

Lady-in-waiting, Macbeth, Oper Frankfurt

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"When the two nieces shine, Anna Nekhames and Julia Stuart dazzle with their lively performance and bright, cheerful soprano voices. One of the vocal highlights of the opera is certainly the women's quartet in the second act: Britten apparently delved into the score of Strauss' ROSENKAVALIER (final trio/duet) and learned quite a bit from the master in blending and layering women's voices. For this quartet has become outstanding, a calm point placed almost exactly in the middle of the opera, a reflection on the understanding of women as mothers and comforters. Magdalena Hinterdobler, Katharina Magiera, Anna Nekhames, and Julia Stuart bring this gem to life in the finest way."

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OPER AKTUELL

by Erstellt von Kaspar Sannemann

Niece 2, Peter Grimes, Oper Frankfurt

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​​​​"Soprano Julia Stuart revealed a seemingly limitless supply of raw and electrifying vocal power..."

 

PARTERRE BOX

By Gabrielle Ferrari

"Ma" Zegner, Proving Up, Juilliard Opera

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"Julia Stuart deployed the weight of her multi-timbered soprano to communicate the burden Ma Zegner has endured through five years of working the land."

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OPERA NEWS

"Ma" Zegner, Proving Up, Juilliard Opera

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 “The sparkling find of Opera Saratoga’s season is the magnificent soprano Julia Stuart, who’s pure, powerful Fiordiligi propelled a “Così fan tutte” that was cheeky, beautiful and well-acted.”

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“it was a testament to Stuart’s skill — and the Juilliard program where General and Artistic Director Mary Birnbaum encounted her — that she was so fully formed in her first major opera outside school.”

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THE BERKSHIRE EAGLE

By Evan Berkowitz

Fiordiligi, Così fan tutte, Opera Saratoga

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“Each of the four romantic leads had fine vocal moments but soprano Julia Stuart as Fiordiligi was the standout even before her grand second act aria “Per pietà, ben mio, perdona.” While navigating its wide emotional range, Stuart seemed to burrow ever deeper into character.”

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TIMES UNION

By Joseph Dalton

Fiordiligi, Così fan tutte, Opera Saratoga