" ... Looking beautiful and glamorous in Marcel Escoffier's still sumptuous gowns -- first worn by Maria Callas when this Franco Zeffirelli staging bowed at London's Covent Garden 46 years ago -- Urmana made an imperious entrance that left no doubt Rome's reigning diva was in the house. During the first act, her petulant anger, inspired by suspicions of her lover's betrayal, gave way to tender embraces.
She was equally believable as the horrific extent of Scarpia's designs on her and her lover fully registered, and, later, as Tosca, having killed her would-be rapist, excitedly outlined plans for her and Cavaradossi's escape.
Vocally, Urmana sang with a full, lustrous, well-knit sound, gleaming in her upper register save for a few raw notes at the very top. Her velvety middle and lower range bore witness to her mezzo-soprano past, and she was able to summon a lovely mezza voce when needed.
"Vissi d'arte" was delivered with generous tone and a liquid legato as the cri de coeur of a woman at theend of her emotional tether. The aria drew an extended and well-deserved ovation.
After so impressive a debut, one can only hope that management has further plans for Urmana. … “
Chicago Tribune, 12 January 2010

" ... There are no diva games going on here -- no posing, no milking of the audience's expectations: Urmana simply is Floria Tosca. And her arias -- none more so than the signature "Vissi d'arte" ("I lived for art, I lived for love") -- arise organically from plot and character. ..."
Chicago Sun-Times, 12 January 2010