“ … Odabella’s heroic resolve comes through in music filled with daring vocal leaps and bursts of defiant coloratura, and the soprano Violeta Urmana dispatched the part with fearlessness and earthy power. Yet, true to the Muti credo, she sang each line with articulate shape and grandeur. ..”
New York Times, February 25, 2010

“ … Full-figured soprano Violeta Urmana rocked a stratospheric beehive wig and a ball gown of metallic silk in a gold so intense it seemed radioactive.
She and the other singers bloomed under Muti’s baton. So pedestrian in "Aida" a few months ago, here Urmana sounded fiery, vulnerable and grandiose as the vengeful Odabella’s music demanded. Even the jagged coloratura of her opening aria "Santo di patria" rang out with confidence. …”
New York Post, February 25, 2010

“ … The odious Odabella finally runs him through at the end, which Urmana does in style. She also manages some of the finest singing I have ever heard from her, confidently executing the vaulting phrases and aggressive coloratura of her entrance aria and delicately spinning out the more lyrically reflective moments that soften her nature later on in the opera. …”
MusicalAmerica.com, February 25, 2010

“ … Welcome as well were the terrific cast of singers the company assembled for its first staging of Giuseppe Verdi's 10th opera, "Attila." Led by Russian bass Ildar Abdrazakov in the title role and Lithuanian soprano Violeta Urmana as his nemesis, Odabella, they all sang with impressive power and style. (…) Urmana tore into her difficult opening aria fearlessly, tossing off tricky scales and coloratura runs with aplomb. She also created some lovely, delicate effects in her later moonlight soliloquy. …”
Associated Press, February 24, 2010

“ … The fact that soprano Violeta Urmana got through the night -- especially her difficult opening aria – balancing the enormous head-topper must be counted as a great achievement. …”
www.bloomberg.com, February 24, 2010