“Moldavian soprano Inna Los made her MOT debut as the naïve Japanese geisha Butterfly, and her portrayal was sweet and affecting. Her vocal weight and timbre recall a young Renata Scotto, a diva renowned for her interpretation of Butterfly. The similarity was particularly noticeable in her aria “Un bel di,” but Los colored her portrayal with her own personality. Butterfly may be as delicate as Dresden porcelain, but she’s got a hot temper at times, and Los isn’t timid about revealing it.”
“ It was absolutely clear that she not only knows Madama Butterfly as thoroughly as one can, she has interiorized it to the point that she can do almost anything she wants with the role with complete command. She totally inhabited her character, making her almost shocking innocence entirely convincing, without any condescension or inappropriate irony. In Act II she carried us with her, fascinated and absorbed, as she played out her delusion, her determined resistance to the bitter truth, and her agonies leading to her suicide. The power of her performance was extraordinary, but her interpretation was entirely in the mainstream, and all for the better. Her singing was also in the classical tradition, recalling many of the great sopranos who have sung the role, like Victoria de los Angeles and Monserrat Caballé. The beauty and power of her gleaming upper register and rich lower area place in the higher ranks of sopranos singing today, and she is an actress with great gifts of penetrating a role and convincing us that it is real. “
“Los’s exquisite movement and acting coupled with a soprano faultless throughout the entire tessitura should be less astonishing upon reviewing her extensive credits. such as Butterfly at Lyric Opera Chicago, and Liù at the Deutsche Oper Berlin. Truly, she owns this rôle.”
“In Michigan Opera Theatre’s classic rendition of Madama Butterfly (seen Nov. 15), soprano Inna Los was enchanting the fifteen-year-old geisha Cio-Cio San, delivering her lush, iconic phrases with a refreshing lightness that reflects her character’s youth. Los was thrillingly dynamic in the role, particularly in the tour de force second act, unfurling in “Un bel dì” a deliciously dark core within her shimmering line. In a performance of unflinching honesty, Los captured Butterfly’s searing heartbreak, hope and defiance with intensity and grace.” OPERANEWS
“Soprano Inna Los, in her Opera Grand Rapids debut, gave a heart wrenching performance as Cio-Cio San, a career role for such singers as Mirella Freni, Renata Tebaldi and Maria Callas. Her Butterfly is thoroughly convincing. A talented actress, Los has the range to portray Butterfly in her the many stages of her life, as starry-eyed newlywed, as loving mother, as sorrowful, abandoned woman. Her Cio-Cio-San has a bit of steel beneath a delicate exterior, projecting strength as well as inspiring sympathy. Los has an ample voice for the role as well. Her first act was understated. Her second act aria, “Un bel dì vedremo” or “One Beautiful Day,” as she dreams of her husband’s return, was a highlight of the evening.”
“With her bright, fresh voice, Inna Los was an ethereal Rusalka with a sensual vibrato in all registers.” Rusalka – Opéra national de Lorraine.
“And in her American debut, soprano Inna Los displayed a rare talent…..Los has the temperament to convincingly play the Italian heroines who live and die for love, who can turn on the charm portraying the virtuous, delicate maiden one moment and turn deadly an instant later. She managed to appear genuine in this most melodramatic of operas…Los’ voice measured up to her dramatic prowess, decadently rich and warm throughout its well-rounded middle and lower ranges, with a powerful silver blade of a top adding unexpected strength.”