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  01 Feb 19 Verdi Messa da Requiem - Recording
  Grand Hall of the St Petersburg Academic Philharmonia

  “This work being, as I remarked, so operatic in character, there is always the question of the quality of the solo voices: my main motivation in wanting to hear and review this recording lay in my wish to hear rising star Dinara Alieva, having heard and admired her in her two solo recital and duet (with tenor Aleksandrs Antonenko) albums on the Naxos and Delos labels…her vibrant singing there is reminiscent of the young Leontyne Price in her prime: smoky, soaring and effulgent – and she certainly does ace the final top C. This recording is almost worth acquiring for her alone…”
  Ralph Moore, Music Web International

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  28 Jul 17 Verdi Il Trovatore
  Budapest Summer Festival

  “Alieva elvitathatatlan elsősége, illetve az énekesnő művészetére való rácsodálkozásunk uralta tehát ezt az estét.”

  “Alieva’s incredible endowment has dominated the evening and successfully engaged the audience with great enthusiasm.”
  László Ferenc, REVIZOR

  “Az azer(bajdzsán)i Dinara Alieva fellépése, megformálás és átélés tekintetében egyaránt hibátlan … Tökéletesen kiegyenlített „olasz hang”, amelyet különleges egzotikus tónusa tesz még izgalmasabbá. ”

  “[Alieva’s] flawless acting … with her skilled ‘Italian singing’ added colour and thrill to the music.”
  Tamás Pallós, Új Ember Hetilap

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  14 Jun 16 PUCCINI 'La Rondine' DVD Rolando Villazon production
  Deutsche Oper Berlin
  “But, the singing! My heavens, I thought such unabashed, full-throttle verismo emotionalism had died with the 1950s! Dinara Alieva has a wonderfully opulent soprano, a true spinto with seemingly limitless power and an absolutely free top; she could tackle any Verdi or Puccini role that comes to mind, except Turandot and perhaps Lady Macbeth. But she knows how to rein it in for emotional expression, and she fully captures Magda’s emotional vulnerability… Both he [Charles Castronovo] and Alieva have excellent diction, secure intonation, and rock-steady diaphragm support. It’s possible that some critics will object that Magda and Ruggero should be portrayed by lighter, more lyrical voices, in a lower-key more intimate manner. I can only respond that this couple is stupendous; I’ve not heard vocalism this thrillingly beautiful in years, and I literally had shivers of delight rippling up and down my spine as they poured out gleaming, golden tones.”

  James A. Altena, Fanfare Magazine

  “En Magda, la jeune Azerbaïdjanaise Dinara Alieva est une véritable révélation. Dotée d’un soprano crémeux à souhait, aux sublimes aigus émis pianissimo comme il se doit, elle se montre également une actrice convaincante et investie, parfaitement à l’aise sur un plateau relativement encombré.”
  “As Magda, the young Azerbaijani Dinara Alieva is a veritable revelation. With a perfect and creamy soprano, she delivered an “acute” (accurate) and sublime pianissimo, just as it should be. She is also a convincing actress, who is invested and at ease.”
  Pierre Degott, ResMusica

  “Clothed in a number of stunning designer gowns and dresses Azerbaijani soprano Dinara Alieva gives an irresistible portrayal of Magda de Civry, mistress of Rambaldo Fernandez. The score’s most popular excerpt, Magda’s beautiful aria Che il bel sogno di Doretta appears in the opera’s first 10 minutes and Alieva doesn’t disappoint, delivering an excellent performance. The sound she produces is stylish and attractive with a glorious, smooth tone, effectively managing to harness her weighty vibrato. Comfortable throughout her high register, Alieva’s delivery of the words Che importa la ricchezza Se infine è rifiorita La felicità! (What is wealth without happiness!) sends a shiver down the spine. Alieva as the Parisian courtesan is such a convincing actress.”
  Michael Cookson, Music Web International

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  09 Sep 15 Dinara Alieva & Aleksandrs Antonenko 'Arias' Kaunas City Symphony Orchestra, Constantine Orbelian
  CD

  “Dinara Alieva is the best new Verdi singer since Sondra Radvanovsky and here confirms what we have already heard in her solo album of Russian songs and arias for Naxos and her previous recital of operatic plums on Delos. She has a big, pure, vibrant sound with a touch of the smokiness which often enhances great voices…has any recent soprano sung “gli areca I miei sospiri “ with its concluding B flat with such gorgeous, floating intensity and security?…This a generous and gripping recital, most valuable for Alieva’s contribution and certainly of interest to anyone who wants to hear two rising operatic stars.”
  Ralph Moore, Musicweb international

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  29 Jul 14 'Pace Mio Dio' Czech National Symphony Orchestra, Marcello Rota
  CD

  “From the quality of her voice, one would guess that the soprano Dinara Alieva came from Spain or Italy, but in fact she was brought up and educated in Azerbaijan. There is nothing Slavonic-sounding in her firm, creamy voice and certainly no Slavonic wobble, making her a perfect candidate for this formidable sequence of favourite soprano arias.

  She opens with Violetta’s two big solos from La traviata. Her coloratura in the cabaletta ‘Sempre libera’ is flawless, while in the two stanzas of ‘Addio del passato’ she offers subtle contrasts. Butterfly’s ‘Un bel dì’ in the first of her Puccini items rises to a thrilling climax at the end, with no roughness in the voice even under pressure. ‘O mio babbino caro’ from Gianni Schicchi is similarly nuanced, while the items by Cilea, Catalani and Leoncavallo are also shaded beautifully in tone and dynamic. She ends the recital with more Verdi, if anything even more taxing. She produces perfect trills in the cabaletta of ‘Tacea la notte’ from Il trovatore and rises superbly to the challenge of the big aria for the heroine in La forza del destino, ‘Pace, pace mio Dio’.

  What is remarkable about all of Alieva’s singing is her depth of feeling, conveyed without exaggeration, from the heart. It is not surprising that such divas as Montserrat Caballé and Teresa Berganza speak of Alieva with such warmth. This really is an exceptional soprano recital which should bring the name of Dinara Alieva to new prominence.”
  Edward Greenfield, Gramophone

  “Azeri soprano Dinara Alieva trained in Baku. After a few years at the theater there, she guested as Liù at Moscow’s Bolshoi Opera in 2009 and joined that theater the following year for a number of starring roles. So far, her outstanding Western credit is two Donna Elviras at Vienna State Opera in 2011; she returns there this spring for Tchaikovsky’s Tatiana. She has also sung Elvira and Violetta at Deutsche Oper Berlin. Delos’s packaging emphasizes that Alieva is an extremely attractive woman; fortunately — as is not always the case these days — she also demonstrates considerable temperament and has a striking, beautifully colored instrument … Withal, Alieva’s is certainly one of the more beautiful and convincing voices I’ve heard confronting this repertory among the younger generation of singers; that and her glamorous persona should carry her far.”
  David Shengold, Opera News