Leonora: Il trovatore
Teatru Astra, Victoria, Malta
October 24 & 26, 2019

Santuzza: Cavalleria Rusticana

Festival Stand’Été, Moutier, Suisse

June 22, 23, 26 2019

Santuzza: Cavalleria Rusticana

Théâtre du Passage, Suisse 

April 26 & 27, 2019

Elsa: Lohengrin 

Opera Southwest 

March 31, April 3, 5, 7 2018

 Elisabetta di Valois:

Don Carlo

Opera Romana Craiova 

February 2, 2018


Abigaille: Nabucco

Lausanne, Switzerland 

November 17,18, 20, 21 2018

Leonora: Il trovatore 

Ancient Roman Theater

July 7 - Opera Open 2018

State Opera Plovdiv, Bulgaria


Anfiteatro Fonte Mazzola, Toscana

July 1, 2018


Opera Romana Craiova

June 9 & 10, 2018


Sarasota Opera

March 3, 6, 8, 11, 14, 17, 20, 24 2018

Santuzza: Cavalleria Rusticana

Aurora Opera House, Malta

October 14, 2017

Maria Callas Memorial Gala

Festival Belliniano

Teatro Antico di Taormina, Italy

September 16, 2017



Teatro Solis

August 16, 18, 20 2017

Concert: Opera Wroclawska

June 28, 2017

(La Gioconda, Un ballo in maschera, Adriana Lecouvreur, Tannhauser)

Madama Butterfly

Sarasota Opera

February 11, 16, 19, 22, 25, 28

March 5, 10, 12, 17, 21, 25 2017

Leonora: Il trovatore

December 16, 18, 20 2016

Opera Wrocławska

Cultural Capital of Europe 2016

Leonora: Il trovatore

June 24, 26 2016

Washington Concert Opera Gala

May 12, 2016

Carnegie Institution for Science


 Margherita: Mefistofele

  April 13, 15, 17, 20, 23 2016


Micaela: Carmen

Taormina Opera Festival

Teatro Antico di Taormina, Italy

March 11, 2016 (in cinemas)

February 28, 2016 (in cinemas)


July, August 2015 (live and in cinemas)


Lucrezia Borgia

Light Space, New York, NY 

April 3, 4, 7, 10, 11 2015


Leonora: Il trovatore

Opera de Bellas Artes                                June 29, July 1, 3, 6 2014

Micaëla: Carmen

Teatro Amazonas, Brazil                            May 18, 20, 24 2014

Tosca: Floria Tosca

Theatre Equilibre, Switzerland        March 15, 2014


Tosca:  Floria Tosca

Theatre du Vevey, Switzerland                 March 11, 2014


Tosca: Floria Tosca

Theatre du Passage, Switzerland     March 1, 4, 7 2014

Leonora: Il trovatore

Palacio de Bellas Artes, Mexico City June 20, 23, 27, 30  2013

  Verdi Composizioni da Camera

Casino Baumgarten Linzer Straße 297 Vienna, Austria- May 3, 2013

Verdi Messa di Requiem

Palacio de Bellas Artes, Mexico City March 7, 2013

Verdi Opera Gala

Palacio de Bellas Artes, Mexico City March 3, 2013


 Donna Anna: Don Giovanni

Montevideo, Uruguay-Teatro Solis      August 17, 20, 22, 24, & 27. 2012


 Placido Domingo's Operalia

Beijing, China, National Center for the Performing Arts, June 4-10, 2012


Elisabetta di Valois: Don Carlo

Neuchatel, Switzerland, Theatre du Passage, April 27, 2012

 Fribourg, Switzerland, Theatre Equilibre, May 2 & 4, 2012






Blog Index
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"Italian soprano Joanna Parisi presents to us in the opening aria "Tacea la notte placida" a fine, beautiful, resonant and dramatic voice. 

Parisi perfectly sings her aria "D'amor sull'ali rosée." Also the dramatic scene where Leonora begs Di Luna for mercy is both sung and acted very convincingly."

Hudební rozhledy February 2017; Wrocław European Cultural Capital of Europe

"Great performance created by Joanna Parisi in the role of Leonora. The American singer of Italian descent amazes with an excellent vocal technique and captivates with her beauty. Parisi, sought-after by major opera houses of the world, this year has been credited by the prestigious New York radio station WQXR-FM, specializing in classical music, the "New Generation of Great Opera Singers." Leonora seduced with her beauty and vocalism. No wonder the two male protagonists of Verdi's opera, Manrico and Di Luna, lost their head." December 2016



"Sangeskunst auf hohem Niveau:

Alle Rollen sind erstklassig besetzt: Joanna Parisi als Margherita war hochdramatisch und doch anrührend in der Gefängnisszene."

"Singing at the highest level:

All roles were first class, especially Joanna Parisi as Margherita, who sang with a highly dramatic voice and yet peacefully later in the prison scene."

Bieler Tagblatt, 16.04.2016

"Joanna Parisi est une superbe Margherita. Tîmide, tendre, heureuse, puis finalement désespérée. Cette magnifique soprano nous a offert les plus beaux airs de cette production. Le duo d'amour du deuxième acte est d'une ineffable tendresse. La voix se fait de plus en plus tragique pour finir en un chant de mort bouleversant."

"Joanna Parisi is a superb Margherita. Timid, tender, happy, then finally desperate. This magnificent soprano offered to us the most beautiful singing of this production. The love duet in the second act was sung with ineffable tenderness. The voice then became more and more tragic until ending in a shattering death scene."

L'Express/L'Impartial 15.04.2016


"JOANNA PARISI as Lucrezia Borgia in the excellent Loft Opera production. She proved a natural in handling the very difficult music and making it work as theater while rising to the complex challenges of this updated production. A real tour-de-force."


"Joanna Parisi's Lucrezia was truly a force of nature, needy and malevolent when called upon, hurling out her rich spinto with its solid chest voice into the void.  With her sparkles and blonde hair and tight skirts and tottering high heels and imperious Lady Gaga presence, she dominated the space."

Opera Magazine, London UK, June 2015 

"For Lucrezia’s outraged entrance in the next scene, soprano Joanna Parisi overturned a table more recklessly than even Teresa Giudice might dare.  In fact, Ms. Parisi gave a superhuman performance in every sense of the word...the miracle was that she sang so well, in a big, vibrant spinto with confident flexibility and a rich, earthy chest register."

"Over the top and out of control—except vocally, where Parisi’s control was impressive and gratifying. Her voice was sometimes loud but never unattractive, and she phrased the languid “Com’e bello” with delicate line and pretty little ornaments...She has the evenness of register, all one voice from top to bottom, that was much prized in the bel canto era and seems rare of late. Withal, she is slim, pretty and an effective actress", 04.05.2015


"Soprano Joanna Parisi carried and made the show as Lucrezia. Ms. Parisi has a chesty and supremely agile voice and an intense stage presence. Her Lucrezia was a sexy platinum blonde strutting around on platform heels and jeweled dresses while at the same time rendering the anti-heroine complex emotional spectrum in all its nuances from motherly tenderness to raging fury to vengeful scheming and defeated desperation. The duets with her son Gennaro were deeply moving, while the confrontation with her husband the Duke of Ferrara was the perfect crescendo from a very physical seduction (where she managed to super-humanly sing from his lap while arching her back and dipping her head almost to the floor) to the most pyrotechnic fury... Ms. Parisi vividly brought to life the tension between public terror-inducing power and private tender motherly love, as a most viscerally captivating and charismatic Lucrezia."

 "Joanna Parisi (with beautiful dynamics, delicate pitch, and furious emotion), as Lucrezia...she was a lightning bolt, landing in the dynamite domestic dramas and interpersonal interplay with devastating, pinpoint crashes, fully exploiting this fiery diva showcase. The finale was brutally blocked, movingly sung and darkly played."

Opera News, 04.07.2015
"On Saturday evening the soprano Joanna Parisi gave a scintillating, frenzied performance...the emotional focus she brought to her character’s vocal hysterics was wholly convincing as she knocked over bottles in her frantic search for a last drop of poison, hurled wine at her husband-accomplice and finally smashed a bottle into the wall"

"Joanna Parisi, who starred as Lucrezia, sang it with such a frenzied passion that it brought some of us to tears. The closing aria is the famous and very demanding "Era desso il figlio mio."  Donizetti’s star soprano insisted he write it for her in order to showcase her vocal agility. (Donizetti later removed it because he thought it made the ending unbelievable, as if that would make a difference.) Parisi was awesome (and I mean that literally). She put her all into it and sang with such bravura, it brought the audience to their feet. "

"Joanna Parisi possède les atouts d'une Tosca convaincante: son soprano riche développe des inflexions variées, les aigus sont puissante et cristallins, les moments intimes sont taintés d'un sens dramatique profond.  Elle sait moduler sa voix au gré des émotions de son personnage.  Son jeu d'actrice n'est pas en reste: tantôt séduissante, langoureuse, passionée, elle passe pour toutes les émotions de la colère et du désespoir."
"Joanna Parisi has all the advantages of a convincing Tosca: her rich soprano develops various inflections, powerful treble and crystalline tones, the intimate moments have deep dramatic sense. She knows how to modulate her voice at the mercy of her emotions. Her acting is not to be outdone.  She is seductive, dreamy, passionate- and her voice goes through all the emotions of anger and despair."

L'Express/L'Impartial, Switzerland

"Mit wunderbar aufblühenden herrlichen Kantilenen, Jungmädchenhaftigkeit und dezenter Eifersucht präsentierte sich eine hochmotivierte Joanna Parisi. Wunderschön und intim fliessend wie ein Selbstgeständnis war ihre preghiera Vissi d’arte, vissi d’amore."

Der Neue Merker, Vienna Austria

"Lo mejor de la noche, sin duda, fue la soprano Joanna Paris, como Leonora.  En el acto cuarto, tiene que lucir su habilidad y resistencia vocal. A la maravillosa aria “D’amor sull’ali rosee,” ...ella la abordó con afinación perfecta y bella voz. Y en la escena del Miserere y luego con el conde, estuvo impecable, teatral y vocalmente: afinada, apasionada, en gran voz, simplemente espléndida. Estas dos escenas ya valían la ópera entera. Recibió una merecida ovación."
("Best of the night, without a doubt, was the soprano Joanna Paris as Leonora.  In the fourth act, she showed her skills and vocal endurance. In the wonderful aria "D'amor sull'ali rosee"...she addressed with perfect pitch and beautiful voice.  In the Miserere scene and later with the Count, she was impeccable, dramatically and vocally, refined, passionate, in great voice, simply splendid.  These two scenes are worth the entire opera.  She received a deserved standing ovation.")
Teatro de Bellas Artes, Mexico City
Noches de Ópera 
Milenio; Operópatas, 22.06.2013
"Soprano Joanna Paris sang Leonora with a powerful and gorgeous voice"

Ingrid Haas,, 23.6.2013
Teatro de Bellas Artes, Mexico City

"Joanna Paris es una soprano elegante, que proyectó sobre el escenario a una Leonora convincente, un personaje que ama, que es leal y capaz de morir por amor.  Tiene una voz de ricos matices y buen manejo de su columna de aire. Su “Tacea la notte placida,” lo mismo que “D’amor sull’ali rosee” y “Miserere,” fueron formidables.  ...Walter Fraccaro y Joanna Paris se repartieron las ovaciones más atronadoras de la noche."
("Joanna Paris is an elegant soprano, who portrays a convincing Leonora on the stage, a personality that loves, who is loyal and the capacity to die for love.  She has a voice of rich colors and good breath management. Her "Tacea la notte placida," "D'amor sull'ali rosee" and "Miserere" were formidable.  ...Walter Fraccaro and Joanna Paris shared the most thunderous applause of the night."
El Economista,
24.06.2013, Teatro de Bellas Artes, Mexico City


"Joanna Paris bot eine stimmsichere Elisabetta. Mit gekonntem Legato zeichnete sie weite schöne Kantilenen, wobei ihre aufblühenden Stimme grosse Leuchtkraft und Wärme entwickelte."

27.4.2012 Vienna, Austria


("Joanna Parisi offered a sure-voiced Elisabetta. With skillful legato she designed wide, beautiful cantilenas with her blooming voice that evolved with great luminosity and warmth.")




"Ataviada con un vestido largo tipo "sirena" en color negro, así lució la soprano norteamericana Joanna Parísi, quien al lado de Vargas y con exquisita voz interpretó "Lo vengo a domandar".

Se trata de una cantante que cautiva, no sólo por su timbre vocal, sino por su belleza, pues aun con la presencia de Vargas la soprano se ganó las miradas hasta de los músicos de la Orquesta del Teatro de Bellas Artes."

El Milenio, 4.3.2013, Mexico City

"La voz de mayor intensidad dramática es de la soprano italiana Joanna Parisi (Donna Anna), con un punto altísimo en el recitativo en que relata a Don Ottavio quién mató a su padre. También excelente fue su canto en una cuerda de dulzura y no de tragedia en el aria "Non mi dir bell’idol mio", sobre el final del segundo acto."
Semanario Búsqueda,
23.08.2012 Montevideo, Uruguay


("The voice of most dramatic intensity is that of the Italian soprano Joanna Parisi (Donna Anna), with an extremely high point in the recitative in which she relates to Don Ottavio who killed her father.  Also excellent was her singing on a chord of sweetness and not of tragedy in the aria 'Non mi dir bell'idol mio,' at the end of the second act.")


"Doña Ana (la ítalo-norteamericana Joanna Parisi) fue un valor de excepción en esta versión. Cantó con excelencia de afinación y volumen, ajustándose a cada circunstancia"

4.09.2012 Montevideo, Uruguay


("Donna Anna, the Italian American soprano Joanna Parisi, was an exceptional value in this production.  She sang with excellence of tone and volume, adjusting to every circumstance")


"La soprano ítalo-norteamericana Joanna Parisi, como Donna Anna, lucío una voz potente con buen dominio en todo el registro."
El Pais,
22.08.2012 Montevideo, Uruguay

("The Italian American soprano Joanna Parisi, as Donna Anna, demonstrated a powerful voice with good command of the entire register.")


Un requiem spectaculaire
19.04.11 | 04:15 | L'Express/L'Impartial | LA CRITIQUE DU... REQUIEM DE VERDI "Ce week-end, au théâtre du Passage, a eu lieu deux représentations du Requiem de Giuseppe Verdi. Monument de la musique classique du 19e siècle, cette œuvre surprend d'abord par son caractère spectaculaire...

...Nous avons également été sensibles au «Libera me» chanté avec extrême sensibilité par Joanna Parisi. Son chant diaphane, en écho à la polyphonie du chœur, conclut le Requiem de manière apaisée. Les dernières paroles, devenues cristallines, baignent alors dans la lumière du repos éternel."

"As Abigaille, the young and glamorous Joanna Parisi sings this early Verdi voice killer role with eerie ease. Ms. Parisi's ascents and descents were remarkable, and the clear and powerful richness of her voice echoes on in memory."

The Italian Voice


"The cast was stronger than in the Traviata earlier this season. Joanna Parisi was a fine heroine... Her "Ritorna vincitor" was quite moving."

New York Sun

"...fantastic young Verdian cast. Joanna Parisi, soprano, was wholeheartedly convincing as the Ethiopian princess, captivating the Central Park audience with regal power, elegant beauty and melting pianissimi."

New York Magazine, Reader reviews

  "Her “Ritorna vincitor” was sung with impressive volume and musicality, and her “Del mio soffrir” at the aria's end was sustained beautifully. In the Nile scene, her singing of “O patria mia,” in which Aida describes how much she misses her homeland, was sung with lovely portamenti and legato passages.  Her visual and vocal impression as Aida was vividly compelling."

The Brooklyn Eagle, NY

"Trois très grandes Joanna Parisi, dans le rôle de Aida, avec un solide timbre qui varie du feutré au cristalline"

Paris-NYC Art Diary


"As soon as Joanna Parisi sang her first notes from “Io son l’umile ancella” from Cilea’s “Adriana Lecouvreur,” it was as if molten gold was pouring out.  In this and “Poveri fiori” from the same opera, and the haunting “Ebben, ne andro lontana” from Catalani’s “La Wally,” we were
mesmerized by her soprano, sumptuous and powerful like an Italianate Birgit Nilsson."

The Italian Voice