Atamira (L’empio punito) with Innsbruck Festival of Early Music
In return, wonderful vocal passages reconciled, of which especially those of Theodora Raftis as Atamira stood out. With all the other light-footedness, the sometimes ludicrous costumes and the omnipresent lasciviousness of the scenes, her singing touched deeply. This opinion was shared by the audience and they gave her some euphoric shouts of bravo in the final applause.
APA (Austrian Press Agency) | 22 Aug 2020
Last year, soprano Theodora Raftis won third prize in the Festival’s Cesti Competition, making a notable impression with her wonderful coloratura and imaginative embellishments. Although her role as Atamira did not allow for such a florid vocal display, it did provide further evidence of her talent, in which she demonstrated her ability to draw out the emotional depths of her character.
In her aria, “Care selve, onor del monte,” she laments the loss of Acrimante who is fleeing from her, and for whom she is searching, her subtle ornamentations and light coloratura delicately capturing Atamira’s pain. Raftis’ voice has an endearing timbre, it is strong, versatile and moves with ease between the registers, which was exemplified in her final aria, “Tormenti, che fate?”
OPERAWIRe | Alan Neilson | 2 sep 2020
Soprano Theodora Raftis (Atamira) has the talent to combine lyrical elegance and refinement with tragic-comic elements.
Münchner Merkur | Markus Thiel | 24 aug 2020
Like Mozart’s Elvira, the Atamira by soprano Theodora Raftis is full of nobility and dedication. Her distress as an abandoned wife was expressed with infinite grace and delicacy in her first aria (Piangete occhi, piangete), which earned her a generous applause.
BAROQUIADES | Bruno Maury | 10 Sep 2020
And especially the superior soprano Theodora Raftis as Acrimante’s (ex-) wife Atamira, made the strongest impression.
Die Presse | Walter Weidringer | 23 aug 2020
With a wonderfully theatrical lament, Theodora Raftis as the abandoned Atamira (Elvira) complained to all imaginable gods of her long-term suffering.
Schwäbische KULTUR | WERNER MÜLLER-GRIMMEL | 25 aug 2020
Despina (Così fan tutte) with Kammeroper München, Munich
The overly-cheeky Despina by Theodora Raftis, driven into caricature by the director, singing brilliantly.
Süddeutsche Zeitung | Klaus Kalchschmid | 4 Dec 2019
Cesti International Singing Competition for Baroque Opera 2019
The third prize is going to a wonderful singer, a soprano, who has charmed us all. She not only has the voice and the personality, but she has a very special way of communicating with the audience, and even with the shortest possible aria, she can enchant the audience. The name of this soprano is Theodora Raftis.
Zürich opera house | Michael Fichtenholz (opera director) | 8 Aug 2019
Also, the third prize to the soprano Theodora Raftis from Cyprus was well chosen. Her voice has a very special sound, her technique is fabulous, sometimes one thinks of a few Orientalisms or, better, we can hear traditionalisms, which makes her voice even more interesting.
KLASSIKINFO.DE | robert Jungwirth | aug 2019
The third prize goes to soprano Theodora Raftis from Cyprus. She also convinces with agile coloraturas and fantastic runs in the aria of Laodice from Handel’s Siroe. In the second part she performs a very short piece from Melani’s L’empio punito with great wit…
Online musik magazin | Thomas Molke | aug 2019
Third position for the Cypriot soprano Theodora Raftis, an agile and skilled voice in colorature.
BELLININEWS | Riccardo Cenci | 1 Sep 2019
The presence on the podium of the exquisite Cypriot Theodora Raftis is also justified.
BaroquiadeS | Jacques Duffourg | 24 Aug 2019
Third was an engaging soprano from Cyprus, Theodora Raftis, singing with animated brio “Torrente cresciuto” from Handel’s Siroe.
Opera con Brio | Richard B. Beams | Aug 2019
Bach’s B minor Mass (BWV232) at Leipzig Bachfezt
… very promising young singers, Theodora Raftis and Andrés Agudelo, both perfect in technical ease.
CLASSIQUE NEWS | Florent Coudeyrat | 26 Jun 2019
Bach’s St. Matthew Passion (BWV244) 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 | 3 may 2019
Sopranos Teresa Wakim and Theodora Raftis could be sweetly lithe when desired and deadly serious when required.
SEEN AND HEARD INTERNATIONAL | DOUGLAS DUTTON | 7 may 2019
Bach’s St. Matthew Passion (BWV244) 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 | 10 Apr 2019
Bach’s B minor Mass (BWV232) at 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 | 27 Jan 2019
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 | 24 AUG 2018
Despina (Così fan tutte) at 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 | 13 jul 2018
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 | 13 jul 2018
The Cypriot coloratura soprano Theodora Raftis effortlessly mastered the role of Despina.
PRESSREADER | SUSANNE ZOBL | jul 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 | 17 MAY 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
Ermione (Oreste) at Schönbrunn Palace, Vienna
Theodora Raftis, in the role of Ermione, shines with her bright soprano voice.
Kultur und wien MAGAZINE | 30 JAN 2018
Bach’s Der zufriedengestellte Aeolus (BWV205) at the Liszt Academy, Budapest
Theodora Raftis stood out by far from the four vocal soloists.
MAGYAR NARANCS MAGAZINE | 4 oct 2017
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 | 4 oct 2017
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
Despina (Così fan tutte) at the Liszt Academy, 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 | 9 FEB 2016
Theodora (Theodora) at the Liszt Academy, 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, so much so that her performance drew attention to its rarely heard perfection and elegance.
REVIZOR | Janos Malina | 20 APR 2015
Anne Egerman (A Little Night Music) at the Crescent Theatre
As Anne, Theodora Raftis, sweet, bright soprano was spot-on.
BIRMINGHAM POST | Richard Bratby | 25 JUN 2014
V. William’s Pastoral Symphony
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 | 16 JUN 2014
Orff’s Carmina Burana at De Montfort Hall
Theodora Raftis’ stratospheric high notes were beautifully sung with great clarity and poise.