review | 7 May 2019
Bach’s St. Matthew Passion (BWV 244) at the First Congregational Church of Los Angeles
Sopranos Teresa Wakim and Theodora Raftis intoned with the nimble and docile timbre of birds… Theodora Raftis embodied the elevation of the female perspective as conceptualized by Bach. One of her arias, “Blute nur”, compared Judas’ betrayal to a child’s disavowal of his mother… A last striking image of a serpent, set in a winding melody, called for subito word coloring from the vocalist.
PICTURE THIS POST | Solène Le Van
Sopranos Teresa Wakim and Theodora Raftis could be sweetly lithe when desired and deadly serious when required.
SEEN AND HEARD INTERNATIONAL | DOUGLAS DUTTON
review | 10 Apr 2019
Bach’s St. Matthew Passion (BWV 244) at Musikverein Vienna
Among the other soloists Theodora Raftis, Zachary Wilder and Christoph Filler, pleased the audience the most, inspired by the characteristic colours of the Orchester Wiener Akademie.
DIE PRESSE | Walter Weidringer
review | 27 Jan 2019
Bach’s Mass in B Minor (BWV 232) at the Philharmonie de Paris
The Cypriot soprano Theodora Raftis, seduces in a voice that is fresh and fruity, soft in timbre, very agile and undulates cheerfully in the clear high notes.
OLRYX | Nicolas Mathieu
REVIEW | 24 AUG 2018
Despina (Così fan tutte) with Kammeroper München, Munich
With her great talent for acting, Theodora Raftis creates a Despina on stage who creeps into everyone’s heart as a clown-lady with a mixture of slapstick and eroticism.
Süddeutsche Zeitung | EKATERINA KEL
REVIEW | 13 JUL 2018
Despina (Così fan tutte) at the Schönbrunn Palace, Vienna
The lively, highly versatile, eloquently articulating Cypriot coloratura soprano Theodora Raftis and the confidently composed Serbian bassist Stefan Hadžić, dominated the rest of the cast at the acclaimed premiere.
DIE PRESSE | WALTER DOBNER
As Despina, the Cypriot soprano Theodora Raftis displays a mixture of temperaments. She delights with her fresh voice, bubbling coloratura and a multi-faceted representation of ‘Despina’, ‘chambermaid’ and experienced ‘housekeeper’ in matters of love and faithfulness. The usual doctor-disguise transforms her into a ‘goddess in white’ with serious glasses, a miracle doctor, who ‘heals’ the disguised lovers of fake poison suicide with a drill-like device from the hardware store (instead of the usual magnet). Theodora radiates eccentric playfulness and Mediterranean temperament. After all, the opera is set in Naples.
ONLINE MERKER | KARL MASEK
The Cypriot coloratura soprano Theodora Raftis effortlessly mastered the role of Despina.
PRESSREADER | SUSANNE ZOBL
REVIEW | 17 MAY 2018
London Festival of Baroque Music
The star of the concert was the young Cypriot soprano, Theodora Raftis, her rich, focused and unforced voice coping well with the intricate ornaments so typical of French Baroque music.
EARLY MUSIC REVIEWS | Andrew Benson-Wilson
REVIEW | 30 MAR 2018
Mozart vs Salieri with Opera Fuoco, Paris
Theodora Raftis is a soprano with a career already well underway, and this was verified with her vocal ability and dazzling presence.
CONCERT CLASSIC.COM | Pierre-René Serna | 30 Mar 2018
The role of Mademoiselle Silberklang is portrayed here with intelligence and probity by Theodora Raftis who has a skilled vocal technique, even though her soprano voice is light. Accordingly, in the second opera, she is perfect as Tonina.
OPERA MAGAZINE | Thierry Guyenne | 1 May 2018
There is a need for the interpreters to be both excellent singers and actors, capable of changing role instantly, from tragic to comic, and vice versa. The success of the production was in attendance, the orchestra under David Stern and, to name but a few, the sopranos Dania El Zein, Axelle Fanyo and Theodora Raftis, particularly the latter two, who were wholeheartedly overwhelming in Salieri.
MUSIKZEN | Marc Vignal | 30 Mar 2018
Theodora Raftis sings the role of Mademoiselle Silberklang with a well-established voice, and with an almost tough mode of expression. Her clear tone is maintained in the confident high notes as well as in the vocalizing parts. In Tonina she becomes more lyrical, taking on a fast flow and a more unrestrained theatrical role.
OLRYX | Damien Dutilleul | 4 Apr 2018
REVIEW | 30 JAN 2018
Ermione (Oreste) at the Schönbrunn Palace, Vienna
Theodora Raftis, in the role of Ermione, shines with her bright soprano voice.
Kultur und wien MAGAZINE
REVIEW | 4 OCT 2017
Bach’s Der zufriedengestellte Aeolus (BWV 205) at the Grand Hall, Budapest
Theodora Raftis stood out by far from the four vocal soloists.
MAGYAR NARANCS MAGAZINE
It is very important in a piece such as Bach’s Der zufriedengestellte Aeolus that it should not simply be sung, but must be portrayed, acted out and must include a certain theatricality in the interpretation of each phrase; and soprano Theodora Raftis, who performed the role of Pallas (Athene), knew exactly how to accomplish this and was perfectly capable in fulfilling this theatricality in her performance.
Bartók Rádió | Kristóf Csengery
REVIEW | 19 APR 2016
La Filosofia (Orontea) at the Budapest Spring Festival
As La Filosofia, Theodora Raftis sings with mind-blowing temperament. I have been waiting for her appearance since the Così fan tutte concert, and I regret that she doesn’t have a longer role.
MEZEI NEZO | Z. Makk | 28 apr 2016
As La Filosofia and Creonte, soprano Theodora Raftis and baritone Attila Erdös respectively, shone vocally and dramatically in their characters as the Queen’s advisors.
BACHTRACK | Alexandra Ivanoff | 19 Apr 2016
A praise-worthy performance by Theodora Raftis in the role of La Filosofia.
REVIZOR | Janos Malina | 19 APR 2016
REVIEW | 9 FEB 2016
Despina (Così fan tutte) at the Grand Hall, Budapest
Theodora Raftis, who sang Despina, humoured us with her playful and energetic spirit. As I remember, I liked all of the Despinas I saw in the Hungarian State Opera House. Although, compared to them I would venture that the performance of Theodora was even slightly better. Her dynamic performance captivated us and we could sense her truthfulness and she made us believe that her philosophy of life is the overall philosophy ‘Let us love for our convenience and for vanity’ . At the end of the performance, hearing the tremendous applause that was addressed at her, I was sure that I was not alone in my opinion. Without a doubt, she is a talented actress and comedian.
MEZEI NEZO | Z. Makk
REVIEW | 20 APR 2015
Theodora (Theodora) at the Grand Hall, Budapest
Theodora Raftis, who sang the title role of Theodora, brought her character to life in a way that rivalled her fellow singers’ performance. She knows everything about singing, even things which cannot be taught, and has almost acquired all the skills necessary in this profession. Her soprano voice is crystal clear, light and flexible. It is possible that with further study her voice can acquire even more depth and colours. But this is insignificant because she completely enchants audiences with her captivating personality and ultimately, she makes everything else around her seem secondary. Furthermore, in her first aria she impressed us with her precision, the degree of detailed ornamentation and perfection during her dialogue with the violins. Just before the end of the first half of the concert, Theodora sang the aria ‘Angels, Ever Bright and Fair’ with sublime beauty that left a shiver in the audience due to her authenticity and sadness. Her performance even diverted attention from the perfect execution of musical phrases, which were accomplished with elegance, rarely present at classical music concerts.
REVIZOR | Janos Malina
REVIEW | 25 JUN 2014
Anne Egerman (A Little Night Music) at the Crescent Theatre, Birmingham
As Anne, Theodora Raftis, sweet, bright soprano was spot-on.
BIRMINGHAM POST | Richard Bratby
REVIEW | 16 JUN 2014
V. William’s Pastoral Symphony in Birmingham
The symphony’s emotional intensity culminates in the wordless soprano cantilena, beautifully sung by Theodora Raftis. With full-bodied yet gentle voice, her elegy travelled along the pews with great ease.
BACHTRACK | Hedy Mühleck
REVIEW | 24 MAR 2014
Orff’s Carmina Burana at De Montfort Hall, Leicester
Theodora Raftis’ stratospheric high notes were beautifully sung with great clarity and poise.