Le nozze di Figaro
“Also a member of the troupe, Ilanah Lobel-Torres is Krista, a young singer impressed by the star Makropoulos. The singer also displays promising qualities, with a full-bodied well-voiced instrument, whose high midrange resonates easily in the Bastille.”
“ Ilanah Lobel-Torres , slips into the skin of Krista, then Marilyn, with the same confidence and excellent resonance in the room which is based on a vibrant and slightly full-bodied amber tone. Her game is embellished with a subtle seductive touch which allows her to appear as a successor eager to enjoy life. And as in this production she takes on the roles of the cleaning lady and the chambermaid originally written for a contralto, her character is naturally strengthened.”
“...the rest of the cast is fully up to the challenge. The fresh but robust voice of Ilanah Lobel-Torres amuses us.”
FORUM OPERA, ALEXANDRE JAMAR
"American soprano Ilanah Lobel-Torres’ honey timbre would make even Cerberus bend"
“Ilanah Lobel-Torres sang a breath-taking “L’ho perduta” that, in this staging,
is an aftermath of her abuse by the Count.”
“Keep an eye on Ilanah Lobel-Torres' Barbarina: how many shivers for her “L’ho perduta me meschina” which suddenly reminds us how Mozart is capable of transforming everything he touches into gold.”
“Soprano Ilanah Lobel-Torres, who played one of the Countess' ladies in previous performances, has now been given a larger role, Barbarina. Its very clear tone befits the youth of the role, expressing well the distress of the character, due in this staging to the aggression of the count of which the ballerina has been the victim.”
“And Ilanah Lobel-Torres' Barbarina…really moves us with "L'ho perduta me meschina", her magical aria which opens the last act.”
FIRST WOOD SPRITE
“The Costanza embodied by Ilanah Lobel-Torres is no less fair, from his initial despair and desire for revenge to the unexpected return of Gernando. The timbre is rich and easily distinguishable from that of its younger sister.”
“The vocal quivering of the American soprano never loses the intensity of its vibrato, the richness of the timbre and the concentration of the phrasing. She thus controls her wide ambition, as much as her character's feelings (the anger at having been abandoned which translates a love that is all the more relieved when she finds her lover who had in fact been kidnapped by pirates).”
"From what we have heard, the three main roles already have all the aura and technique necessary to sing on international stages. The American soprano Ilanah Lobel-Torres, in the transvestite role of Prince Ozias, offers a fruity voice and flawless musicality, supported by impeccable phrasing and a sovereign art of vocalization. His final tune "Se la gioia non m'uccide" will remain as one of the vocal peaks of the evening.”
"In the role of Prince Ozia, soprano Ilanah Lobel-Torres demonstrates virtuosity and perfect poise, radiating a vocal line that is always precise and elegant.”
“…Ilanah Lobel-Torres also achieved great personal success for her nuanced, delicate and very stylistic interpretation of Susannah's aria: "Deh, vieni, non tardar ..." An artist to follow, certainly!”
"Her vocalizations are of extreme agility, the timbre is wide and powerful: there results a mysterious magic to which it is impossible to resist."
"Ilanah Lobel-Torres with a full-bodied voice, but at ease as much in the treble as in the the vocalizations. She offers a heroine full of poetry, a little out of the world, while mastering the demands of the score. In the end, a beautiful duet in which the two voices blend harmoniously."
“…From the first part, however, some vocal personalities emerge. Let us mention the American soprano Ilanah Lobel-Torres, Euridice (Rossi) then Aricie (Rameau), whose honey timbre would make even Cerberus bend.”
“SFO apprentices had their best solo turns of the season, led by the trio of spirits sung impeccably by Ilanah Lobel-Torres, Lydia Grindatto, and Meridian Prall.”
THE CLASSICAL REVIEW
“SFO Apprentice Artists shone brightly in cameo roles. The three Wood Sprites were a unified and utter delight. Ilanah Lobel-Torres (1st) graced us with a soprano that was tremulous and freely produced”