In Review
Mimi- La Bohème
"What a cold little hand, but what warm tones...Inna Dukach was a Mimì capable of singing that was so artless as to be understated, with warm corners to a voice that moved smoothly up and down the staff and was enlisted in the service of the acting."
-The New York Times (Anne Midgette)
"Inna Dukach's Mimì showed an appealing emotional vulnerability, spinning out some of the softer, higher lines (in her Act III "Addio," for example) with a pliant legato. Never appearing to reach for effects, the soprano moved easily throughout her range, with colorful shaping and shading, and had the art of making each phrase sound as though it had just occurred to her."
-Opera News (John W. Freeman)
"Inna Dukach as Mimì - a powerhouse - truly! Drop dead gorgeous and fit. Ms. Dukach sang beautifully on both ends of the spectrum and won our hearts with a performance that was truly seductive and hypnotic. "
-OperaOnline.us
Musetta- La Bohème
"It was, however, Inna Dukach's portrayal of Musetta that stole the show. She earned mid-aria applause with a spell binding pianissimo in act 2, and even managed to inject some humanity into the usually shallow man-eater."
-MusicOMH.com (Stephen Crowe)
"Inna Dukach is a stunning Musetta."
-BBC Music Magazine (Michael Scott Rohan)
"Inna Dukach makes an affectionate, coquettish Musetta, acting and singing the role with focus and verve."
-Fanfare Magazine (Barry Brenesal)
"Inna Dukach's Act II Musetta was captivating and never less than in command of her music, but it was in Act IV that she really came into her own, bringing a tenderness and humanity to this rather brittle creature that is too often missed."
-MusicalCriticism.com (Alexandra Coghlan)
Nedda- I Pagliacci
"Inna Dukach was a lovely Nedda, with a particularly attractive upper extension to her voice. A fine actress, she made Nedda a believable figure onstage and perhaps just a tad more sympathetic than usual. It is a welcome change to hear the Nedda-Silvio duet done without the customary cuts, when it is as well sung as it was here."
-Opera News (George Dansker)
Cio Cio San- Madama Butterfly
Madama Butterfly has the delicate, exquisite beauty of a finely crafted figurine, and Dukach captures the opera’s very soul with a rendering of Cio Cio San that draws us into the character’s intrinsic pathos with her every facial expression and gesture.”
-Pensacola News Journal
Inna Dukach, in the title role, sang the long and strenuous part without sounding weary; in fact, she added edge and power as the character evolved from demure girl to devastated woman.
-Anchorage Daily News (Mike Dunham)
Susanna- Il segreto di Susanna
“Added to soprano Inna Dukach’s physicality as Susanna, with her passionate, full-body love for the cigarette, the smoking moments are somehow hilariously ironic and genuinely emotional at once. And that’s also exactly what’s so powerful and funny about the performances of Dukach and bass-baritone Kristopher Irmiter as the Count. They are emotionally genuine enough to connect as an adorable husband and wife deeply in love, and then switch into comedy mode as they attack one another. This is all with the added challenge of maintaining operatic vocal power while taking a realistic approach to their performances.”
-My Entertainment World (Rick Chason)
“Susanna — Inna Dukach, pealing and adorable….Dukach burned up the stage. The audience responded eagerly, even uproariously.”
-Boston Globe (Steve Smith)
Violetta- La Traviata
"What is so special about this new production of Traviata? The guest soprano Inna Dukach is the genuine embodiment of Violetta. Not only is her technical output impeccable, but as anticipated she (demonstrated) a brilliant coloratura soprano. This artist is very expressive, but in an entirely subtle way. Exceptionally talented, the actress is charismatic and beautiful in a true way - with a mix of fragility, vulnerability, passion, and joy of life. Her acting is delicate and theatrical with finely measured gestures. This demanding part in her execution appears as gentle (light) gossamer because she performs it without any visible effort."
-Kontrapunkt (Croatia)
“Soprano Inna Dukach’s portrayal of Violetta seemed to grow as the opera progressed, though that likely can be attributed to the opera’s dramatic arc. Her mastery of Verdi’s vocal demands is evident throughout in her rich vibrato delivery and her seemingly effortless visits to the vocal stratosphere.”
-Todd Von Kampen, Omaha World-Herald
Liu- Turandot
"The best singer (in respect of nuances) was Inna Dukach as Liu, who was exceptionally sensitive in the slave girl's two arias..."
-Musicweb-International.com (Gran Forsling)
Tatiana- Eugene Onegin
“Dukach’s Tatiana was rock-solid, emotive and beautifully acted. The pain radiated from her face when she was forced to hear Onegin’s lecture about her childish feelings in the first act. Then it radiated just as wrenchingly in her voice when she learned his changed feelings too late, after she has married someone else.”
-Harriet Howard Heithaus, Naples Daily News
“[Dukach] was vocally assured and had a firm grasp of the character. The letter scene, in which Tatiana famously and unwisely pours her heart out to Onegin, was exquisite…”
-Richard Todd, Ottawa Citizen
Antonia- Les contes d’Hoffmann
Dukach as Antonia absolutely dazzles the audience with her nuanced attention to dynamics which kept the drama feeling genuine rather than phony, employing gentle pianissimo high notes to convey Antonia’s mournful yearning for her mother.”
-Nathan Stone, Music City Review
Rosalinda- Die Fledermaus
Soprano Inna Dukach sang with power and ease, creating an elegant, manipulative Rosalinde.”
-Elaine Schmidt, Milwaukee Journal Sentinel
Amelia- Simon Boccanegra
“Dukach’s sustained notes hover beautifully and she sings with a graceful fluidity that briefly elevates the overall heaviness of the story.”
-Selena Frye, louisville.com
In Recital
"Soprano Inna Dukach brought charm of presence, utterance and timbre to the second song"
-Opera News (David Shengold)
"Soprano Inna Dukach commanded the auditorium with a voice that was at once powerful and so perfectly controlled that she transitioned with ease from a strong and resonant forte to a barely audible pianissimo without compromising the pure clarity of her tone. It was this tone that held the audience in rapt attention and washed over me in waves, enveloping me in the music."
-MetroWest Daily News
"The touch of class was soprano Inna Dukach, whose powerful voice added texture and playful humor."
-The Boston Globe