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‘Christina Poulitsi has the high notes, the tenderness, the dignity of Gilda. “Caro nome”, as well as her duets with Rigoletto, confirm that she is a top performer of the role’

“Christina Poulitsi’s role debut provided the audience with many goosebumps as well as tears.
She manages to cast a spell over the audience from the very first moment, not just because of her very distinctive appearance, but because she succeeds in making Violetta part of her personality for the duration of the performance and not the other way around.
She is one of those for whom this role seems to have been tailored for right from the start.
At first she flirts with Alfredo, as she does with the others. But then when he leaves in anticipation of the next meeting and she starts her “È strano”, she changes visibly and audibly. She quarrels, she indulges, she hopes.
When old Germont asks her to leave Alfredo, she suffers and fights. When Alfredo almost rapes her, she endures it and, always until the last breath, loves her. 
She is a performer of small, intense gestures and large, clear tones. She not only masters the top notes of “Sempre libera degg’io” with ease and precision, but she is also not afraid to cry or scream at notes.
She succeeds almost playfully in combining brilliant technique with emotional authenticity.
The audience thanked her for this performance with emotion, which quickly turned into enthusiastic clapping, whistling and shouting.
Her colleagues who also deserved appreciation were consistently included in the applause ”

“Christina Poulitsi treads with confidence and elegance. Produced a highly dramatic Amina without having to resort to cheating or being pretentious. Christina distances herself with each role from the “one trick pony” of the Queen of the Night , proving that she is a coloratura soprano that has the dramatic depth , technical excellence, as well as the delicacy to take onto her shoulders a significant variety of roles. Even though , most people tend to pay attention to her immaculate high notes, she also possesses a very warm range of low notes and an exceptional flexibility to address the score with lyrical artistry. Her Amina was therefore able to surpass the complications of naivety and sail into a cove of purity sung with perfect reflexes”

“The international rising soprano Christina Poulitsi sang the popular arias of the Queen of the Night, Gilda and Rosina. Her lyric warm color, beautiful presence and her scenic ethos impressed the audience , which applauded warmly the young soprano. The highly difficult aria of the Queen of the Night was performed with secure and accurate coloratura. “Caro nome” was vocally splendid and dramatically apt, giving to the character an essential innocence and sincerity(a role,which she recently sang under the baton of Mo Mehta in Florence). The spicy and decisive Rosina , was performed with updated stylistically variations, which prove her apprenticeship at the Accademia Rossiniana at Pesaro”