Reviews

Critical Acclaim

I caught part of dramatic soprano Eilana Lappalainen’s vocal warm up in the huge assembly room under the auditorium, and I was astonished at the sheer sustained power she could wield.

Classical Voice of North Carolina

Leonora in Il Trovatore
Lappalainen’s magnificent cancan at Maxim’s Café, whilst singing at the top of her incredible voice was amazing and something only a dedicated artist would tackle.

The Hamilton Spectator

Hanna Glawari in The Merry Widow
The audience gave Ms. Lappalainen a rousing ovation.

The New York Times

Salome in New York City Opera

Performance Reviews

A Triumph in Il Trovatore

  • Leonora Il Trovatore

I caught part of dramatic soprano Eilana Lappalainen’s vocal warm up in the huge assembly room under the auditorium, and I was astonished at the sheer sustained power she could wield. As the tormented Leonora, the Finnish-Canadian singer easily filled Landmark Theater’s large auditorium, and her high notes, hit precisely, were spectacular. Her refined, quiet singing was just as impressive.

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Classical Voice of North Carolina • October 26, 2008

Salome in Montreal
  • Salome

It’s a demanding opera, of all of them, but nothing is so amazing or shocking as the dance. She reminds me of Jean Simmons in one of those Egyptian-era movies, all draped in white tulle and she’s more then fit, she can actually dance. And when she disrobes (except for the thong), we’re all kind of breathless. The final scene of her madness is pure tragedy, and then it’s over.

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The Montreal Gazette • September 9, 1999
A Wilde Salome at NYCO
  • Salome

No, that wasn’t a crazy Sarah Brightman on stage….it was Eilana Lappalainen being demented as Salome. I’m sure Lappalainen’s performance would have been even more effective had Maestro Manahan turned down the volume a notch or two. Lappalainen is an attractive stage presence and moving actress. Lappalainen even did her own, very energetic, dance. I realized that sopranos who perform their own dance, especially one as ‘moving’ as Lappalainen’s, must have a hard time vocally after it. Surely, the dance must wear them out physically and they still have the soprano’s showcase to sing! Also, Lappalainen’s revelry with Herod’s head bordered on the filthy — I loved it.

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OPERA-L Archives • October 17, 2002
Lucia di Lammermoor in Hamilton

  •  Lucia di Lammermoor
Eilana Lappalainen, as Lucia, produced perhaps the most completely captivating performance I have ever witnessed on the opera stage. Her voice settled down from a momentary-too-wide vibrato and some insecurities in the lower range at the start to a rare perfection. The mad scene was utterly chilling in its transcendent beauty. One was frozen, with the chorus, which she scattered like quail before her, into immobile horror.
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The Hamilton Spectator • September 28, 1993
Madama Butterfly in Ontario
  • Cio Cio San | Madama Butterfly
EILANA LAPPALAINEN sings a Madama Butterfly that breaks your heart. Lappalainen was superb. Her voice was thrilling, she acted with total conviction and she looked marvellous. Her aria Un bel di stopped the show, of course, but there were many other less-heralded moments such as her high, pure pianissimo form way offstage that made the hair stand up on end.
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The Spectator, Ontario • May 1992
The Merry Widow
  • Hanna Glawari | The Merry Widow
Canadian soprano Eilana Lappalainen as Hanna Glawari, the Merry Widow, enthralls the men who all want to marry her for her money. Lappalainen’s magnificent cancan at Maxim’s Café, whilst singing at the top of her incredible voice was amazing and something only a dedicated artist would tackle.
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The Hamilton Spectator • April 30, 2001