For Le Feu/La Princesse/Le Rossignol in Komische Oper Berlin's L'enfant et les Sortilèges:
"With the other singers doing double or triple duty, it was difficult for any one performer to truly stand out, although Talya Lieberman, a new ensemble member who made a memorable impression earlier this season in Die Perlen der Cleopatra, sounded radiant as The Fire (here reimagined as the sun), The Princess and The Nightingale."
"Petrushka & L'enfant et les Sortilèges" - Opera News
"The Komische Oper can boast excellent young singers after all such as...Talya Lieberman who manages the high-pitched coloratura fireworks of the fire, the princess, and the nightingale effortlessly."
Komische Oper Berlin: "Petrushka" & "L'enfant et les Sortileges" - GBOpera Magazine
For Countess Landowska in Komische Oper Berlin's production of Kalman's Operetta Marinka:
"Und muss sich doch von Talya Lieberman die Show stehlen lassen, der blutjungen Sopranistin aus dem hauseigenen Opernstudio, die angstfrei ihre Chance ergreift, in der elaboriertesten Arie des Stücks abzuräumen, bei der sie als Rudolfs ungarische Ex-Gespielin ihre Rachegelüste in feurigem Czardas-Furor auslebt. Um in ihrer zweiten Nummer, einer irrwitzigen ägyptischen Polka mit dem Titel „When I Auditioned For The Harem Of The Shah“, gleich noch eins draufzulegen."
"One had to steal the show from Talya Lieberman—the young soprano from the Komische Oper’s Opernstudio—who fearlessly took her chances in the most elaborate aria of the show, in which she, as Rudolf’s Hungarian ex-companion, fulfills her vengeful desire in a Czardas of fiery furor. She piled up one more success with her second number, an audacious Egyptian polka called “When I auditioned for the Harem of the Shah.”
Schön blau an der Donau - Der Tagesspiel
"Auch die Sopranistin Talya Lieberman beherrscht das Metier der leichten Muse aus dem Effeff. Stimmlich hinreißend gerät ihr Auftritts-Czárdás, nonchalant serviert sie die Zweideutigkeit der Nummer Speak to me of Sex. "
"The Soprano Talya Lieberman also dominates the music of the light muse. Vocally ravishing, she served the double-entendres of her Czárdàs entrance number with nonchalance."
Old Man Danube - Opernnetz
* * *
For Charmian in Komische Oper Berlin's production of Die Perlen der Cleopatra:
"Die umher geschobene, aber renitente Charmian wird von Talya Lieberman aus dem hauseigenen Openstudio nicht nur beherzt gesungen: Die junge Sopranistin grieft auch zielsicher zur Trompete."
"The reluctant Charmian is not only sung wholeheartedly by Talya Lieberman from the Opernstudio: the young soprano also scores with her trumpet playing."
Wehe, wenn ick mir den Nil besehe - Der Tagesspiegel
* * *
For Lucy in Cincinnati Opera's World Premiere of Fellow Travelers:
"A number of fine singers took on multiple supporting roles among them...the pert soprano Talya Lieberman [who] played the cheerfully oblivious Lucy."
Review: Gay Love in the Time of McCarthy - New York Times
"Talya Lieberman embodied the conception with relish."
Opera News in Review: Fellow Travelers, Cincinnati Opera - Opera News
* * *
For Susanna in Mozart's Le Nozze di Figaro with Wolf Trap Opera:
"As Susanna, Talya Lieberman complemented her endearing portrayal with vocal charm, molding her light soprano in delectably stylish fashion...her account of “Deh vieni non tardar” proved as technically refined as it was poetically compelling. "
Le Nozze di Figaro, Wolf Trap Opera - Opera News
"Talya Lieberman is also excellent as Susanna, the object of the Count's affections...she embodied the full range of Susanna's personality--at times self-confident, vulnerable, hectoring, and warm--through subtle, and not-so-subtle, expressions and hand gestures, drawing easy sympathy and genuine laughs."
Mozart's The Marriage of Figaro at Wolf Trap, Reviewed - Washington City Paper, June 16, 2015
"The singers' Italian diction was so clean that you almost didn't need the voluminous surtitles...Talya Lieberman was a captivating Susanna, able to make a point with the merest flick of a finger."
A 'Marriage of Figaro' weds energy and delicacy, slapstick and pathos - The Washington Post, June 14, 2015
"[C]ontributing to the vibrancy of this production was the enthusiasm of the singers and the sheer amount of effective physical comedy…The flirtatious teasing between Thomas Richards (Figaro) and Talya Lieberman (Susanna) was very humorously done, making those scenes with just the two of them especially fun. However, the humor only works because of the fantastic quality of the singing that it supports....Lieberman [and fellow cast members] were all excellent—clear, strong voices, resonant and expressive, doing more than justice to Mozart’s melodic score.”
'The Marriage of Figaro' at Wolf Trap - DC Metro Theater Arts, June 13, 2015
* * *
Click here to read an interview on the Wolf Trap Opera Blog.
* * *
For Semele in Handel's Semele at the Schwabacher Concert of Merola Opera Program:
"Among the vocalists currently participating in the Merola Opera Program, one who made a particularly deep impression last month was soprano Talya Lieberman. Her depiction of Semele’s vanity under the spell of Juno’s magic mirror involved the rapid-fire delivery of one comic turn after another, all delightfully coupled with her command of coloratura fireworks. This was a welcome reminder of just how funny Handel’s comic operas could be."
Carol Vaness teases out the essence of comedy in her Merola masterclass - San Francisco Examiner, August 7th 2014
"For her part Lieberman had cultivated a prodigious number of comic gestures, each one perfectly aligned to her coloratura fireworks. It takes considerable skill to portray a shallow and self-absorbed character, and Lieberman made it clear that Semele never realized that she was little more than Jupiter’s diversion for the moment."
2014 Schwabacher Summer Concert dazzles with ten vocalists in seven scenes - San Francisco Examiner, July 18th 2014
"As Semele, Talya Lieberman sang and acted with panache and impressive vocal staying power. "
Merola: Versatile Mezzos, Enduring Sopranos, Promising Tenor - San Francisco Classical Voice, July 22 2014
"The most logical direction [meant] adding a Ph.D. in psychology to her degrees in linguistics and music. Lieberman, however, contemplated hanging a big left. Could she, at 25 years old, become a professional opera singer when the competition had seven years on her with training and role experience...Less than four years later...she is one of 23 singers handpicked through national auditions to participate in the San Francisco Opera Merola program this summer...Lieberman’s less than four years of vocal training wasn’t a deal breaker to get into Merola, according to noted soprano Sheri Greenawald, who has directed the Merola program since 2002. 'Talya has displayed a very specific kind of talent and I knew she’d studied music before,' said Greenawald in a telephone interview. The Merolinis are chosen, she said, because they offer a superb combination of voice and artist."
Age Before...What Does it Take to Become an Opera Singer? - San Francisco Classical Voice, July 29 2014
* * *
"Talya Lieberman, a light lyric-coloratura soprano, sang the tricky “Fire aria” from Ravel’s L’Enfant et les Sortileges with wry humor, dead-on-target accuracy and utter comfort in notes above the staff. She preceded the Ravel with a sensitive interpretation of Pamina’s aria from Mozart’s The Magic Flute, and these two performances won her the $10,000 Seybold-Russell Award."
Amplitude and calisthenics from tomorrow's star singers - Seen and Heard International, March 18 2013
Photographer: Teddy Wolff and Anna Wu