AILEEN ITANI
MEZZO-SOPRANO
WINNER, DANISH MUSIC CRITICS' ANNUAL PRIZE 2009
"In her two pieces, Aileen Itani showed herself above all to be a master of nuance, notwithstanding her fundamentally broad and well-projected voice….Ideally, the music reviewers’ prize concert is not simply a promotion of two musicians that we find especially noteworthy; it is also an indication of the level at which classical music is currently being performed in Denmark, and here that bar was set unusually high."
Jakob Levinsen, Jyllands-Posten
Lisbeth in MICHAEL KOHLHAAS/Klenau
Danish National Opera
Kohlhaas' wife Lisbeth, sung by Aileen Itani, was balanced and believable in both the dramatic and lyrical moments.
T. Kliche, Opernglas
The dramatic but also lyrical sides of the role of Kohlhaas’ wife Lisbeth were in the best of hands with Aileen Itani and her well-balanced, never strident mezzo-soprano.
Elisabeth Richter, Deutschlandfunk
Special attention should go especially to Filippo Bettoschi in the title role and Aileen Itani as his beloved Lisbeth. Both sang well, and the interplay between them was convincing, heartfelt and touching, especially in Lisbeth’s death scene, when she begs Kohlhaas to forgive his enemies.
Aarskriftet Critique
Aileen Itani is wonderful as the humble, loving wife, and her final aria is a musical high point of the production.
Michael Søby, CPH Culture
Beggar Woman in SWEENEY TODD/Sondheim
Royal Danish Opera
There is excellent balance in Aileen Itani’s Beggar Woman, whose leitmotif is ‘mischief’, and who is at the crux of the plot itself.
Henrik Palle, Politiken
Aileen Itani awakens our compassion as the Beggar Woman.
Pia Fossheim, Ascolta
Aileen Itani has a number of fine moments as the Beggar Woman with a secret past.
Per Lundsgaard, XQ28.dk
Varvara in KÁT’A KABANOVÁ/Janáček
Danish National Opera
American singer Aileen Itani, who lives here in Denmark, nearly stole the show with her carefree counterpoint to the tormented Katja.
Valdemar Lønsted, Information
Aileen Itani is indomitable in the freshness of her youth as Varvara… This is the art of singing at its best.
Peter Johannes Erichsen, Weekendavisen
As [Katja’s] opposite, who chooses to flee the stultifying atmosphere, Aileen Itani offered an absolutely complete portrait of the vibrant young girl, Varvara. Itani, with her sweetness, radiance and fundamental vocal command, gives the part a dramatic, positive nerve and presence—not to mention humour.
Jens Henneberg, Nordjyske Stiftstidende
Female Chorus in RAPE OF LUCRETIA/Britten
Royal Danish Opera
The Choruses are sung excellently by Michael Kristensen and American-born Aileen Bramhall Itani – she is the production’s best contributor with the stylistic vocal security and linguistic precision that are alpha and omega in Britten’s narrative and textually precise music.
Jens Cornelius, Jyllands-Posten
The night of the premiere Aileen Bramhall Itani deservedly received a thunderous ovation.
Søren Schauser, Berlingske Tidende
The Choruses were brought to life with dramatic inspiration and vocal brilliance by Michael Kristensen and Aileen Bramhall Itani.
Kjell A. Johansson, Kristianstadsbladet
Marguerite in FAUST/Gounod
Danish National Opera
On the evening of the premiere, Aileen Itani sang a completely convincing Marguerite. In her first entrance, she is able to come across as the most modest, virtuous schoolgirl—two hours later, madness tears at her, after she has been betrayed and has killed her child. Theatrically a very fine performance, but vocally as well—her pure, lyric soprano is never strained or forced, but is rather a voice one drinks in and never tires of listening to.
Jakob Holm, Kristeligt Dagblad
The young soprano sang admirably with sparkling musicality, astounding security, and a most fascinating sound.
John Christiansen, Jyllands-Posten
The production’s Marguerite resembles anything but Hergé’s overripe diva. She is sung superbly by Aileen Itani and resembles rather a French schoolgirl, complete with hair band and flat shoes. This kind of age-realism is rarely seen in the opera world. For once, we don’t have to imagine our way to the real thing.
Søren Schauser, Berlingske Tidende
It was an undivided pleasure to make the acquaintance of Marguerite, sung by Aileen Itani, whose silvery, supple and gorgeous soprano embraced all aspects of the role's emotional range.
Jens Henneberg, Nordjyske Stiftstidende