Gli Uccellatori, Teatro Verdi, Martina Franca,
Fra tutti spicca senza dubbio Bryndis Gudjónsdóttir (La contessa Armelinda), sfolgorante soprano islandese, sguardo magnetico e acuti pirotecnici, che fa sfoggio di un amalgama timbrico scintillante e levigato. È la star della produzione e, di certo, se ne sentirà parlare.
Among all, Bryndis Gudjónsdóttir (The Countess Armelinda) undoubtedly stands out, a dazzling Icelandic soprano, who amazes the audience with a balanced, smooth, though brilliant timbre and high notes like fireworks. She was definitely the star of the production and we will surely hear a lot about her.
Candide in Wunderino Arena
Die isländische Sopranistin Bryndis Gudjonsdottir feuerte bravourös Koloratur- und Leuchtraketen in den künstlich geschaffenen Zuschauerraum – nicht nur im berühmtem Feuerwerk von „Glitter And Be Gay“. Ihre Cunegonde war zugleich notorisch amoralische Leit- wie sympathische Herzensfigur.
The Icelandic soprano Bryndis Gudjonsdottir brilliantly fired coloratura and flares into the artificially created auditorium - not only in the famous fireworks of "Glitter And Be Gay". Her Cunegonde was both a notoriously amoral leading figure and a sympathetic heart figure.
Christian Strehk - Kieler Nachrichten - 18.06.23
Recital in Espacio Turina, Seville,
Icelandic soprano Bryndís Gudjónsdóttir reaffirmed the arguments that won her the first prize of the competition last November. We are dealing with a light lyric soprano possessing an unusually wide and powerful voice for her voice type, where it is normal to have voices with a narrow range. However, in the case of the Icelander, her ease in moving securely in the upper register (the shining Mi and Fa that crowned O Zittre nicht) and displaying cascades of coloratura, combined with a voice of ample volume and width in the middle, is remarkable. Purely technical issues are perfectly resolved: clear emission, precise articulation, perfect projection without any throat or nasal adherence, impeccable intonation, with clean and correct interval jumps. This was demonstrated in the most pyrotechnic pieces, such as in the aria of Mitridate or the well-known passage of Candide. Another matter is the more expressive singing, the attention to legato, the careful phrasing based on regulators, issues that only appeared somewhat in the Icelandic songs, which are more introspective.
Andrés Moreno Mengíbar from Diario de Seville