Mimi, La Boheme 2015
‘Ilona Domnich’s Mimi: intelligently-scales, soaring singing especially in the 3rd act..’o mia vita’ hit home hard. Her performance of this act was one of the most harrowing I’ve experienced.’ Opera
‘Set within this hard-edged realism the fragile love between Mimi and Rodolfo seems like water springing from a desert. It is beautifully expressed, too, in the singing of Ilona Domnich and David Butt Philip. The Russian soprano has a lovely lyrical legato, and her portrayal of a Mimi exhausted but proud is touching from first to last. ‘ The Times
‘Ms Domnich herself developed Mimi’s character from subdued coquettishness to gaiety, anxiety and death – a beautiful performance by an extraordinarily attractive singer. But the emotionally gripping moments were the preserve of David Butt Philip and Ilona Domnich as Rodolfo and Mimi. These are singers who could fill the larger auditoriums in London, and as the ETO tours smaller theatres around the country the visceral impact of their performance is not to be missed.’ Mark Ronan
‘The highlight of La bohème is, of course, Puccini’s superb writing for the lovers at its heart. Ilona Domnich was a moving, engaging, and playful Mimì, trembling with emotion, fully alive to the beauty of the world and of Puccini’s music. Her phrasing exquisitely judged, her acting faultless, Domnich was a treat throughout: her warm, lyrical and utterly distinctive soprano seemed perfect for Mimì. Her masterful performance makes this production worth seeing for Domnich alone.’ Bachtrack
‘While Ilona Domnich is an absolutely enchanting Mimi, spot on vocally and plausibly frail and near to death in the icy cold of the Barrière d’Enfer. Telegraph
‘Ilona Domnich brings genuine fragility to Mimì and gives her a clean, lyrical line.’ Guardian
‘The doomed heroine herself is sung by Ilona Domnich, whose beguiling Mélisande was such a revelation. And Mimì suits her just as well: indeed, few recent sopranos have captured the dying woman’s emotional and physical frailty with such devastating fullness. Yet throughout her character’s suffering Domnich’s stylish intonation and carefully considered vocal colours remain faultless.’ What’sOnStage
