Written about her
The first Cenerentola
"...The performance of the masterpiece gained mostly from the debut of the mezzo-soprano Lucia Valentini... that made a nice surprise. Her voice is soft and greatly expressive, her technique is of very first order..."
MARIO CONTER, Il Giornale di Brescia, 9/2/1969
Cinderella at Covent Garden
"... the Compagnia della Scala di Milano... brought us a young singer, Lucia Valentini Terrani, that in the lead role almost eclipsed my memory of another wonderful Cinderella: Conchita Supervia."
PHILIP HOPE-WALLACE, The Guardian, 6/3/1996
In Paris
"The most beautiful mezzo-soprano voices can rightfully number between them Lucia Valentini Terrani, with a bright, warm vocal timbre that has nothing to share with timbres too wide and rough. It was enrapturing".
PIERRE PETIT, Le Figaro, 8/11/1978
Tancredi at the "Rosini Opera Festival" in Pesaro
"Lucia Valentini Terrani...has now reached a limitless vocal and expressive flexibility."
FEDELE D'AMICO, L'Espresso, 26/9/1982
THE RECORD "Arie di Rossini"
"... Lucia Valentini Terrani has an elegance that lets imagine what must have been the Malibran and the Alboni"
ALAIN ARNAUD, Diapason, Marzo 1983
"The quick vocalization, whose notes sparkle scanned with meticolous cleanliness, the whimsical acrobatic variation, the dizzy rush burst out clear and bright. Smooth, geometric too, but brightened by the inner tension and the ardour of whom knows how to get the poetic values of the Rossinian dialectic everywere: in the imaginary fairy, in the dazzling "roulade" and in the melody that rolls smoothly diffuses heartaches of a time that was no longer ours and that we are regaining now... The young woman from Padova... gave to this recall what best she had: a true vocation to sing Rossini."
L'Italiana in Algeri at the Teatro alla Scala
"... Lucia Valentini Terrani dominated, the voice of dazzling sensuality but also of breathtaking lightness, the infallible tecnique, the desire to invent united to the absolutely solid preparation both scenically and vocally. Many of her great colleagues interpreted this lead role... Lucia ate them all."
LORENZO ARRUGA, Il Giorno, 30/12/1983
In Concert at the Auditorio of the Foro Italico in Roma
...the Valentini Terrani "built" herself with tireless studies and inexhaustible pacience the most suitable instrument, those of the ancient 'Contralti d'agilità'. And now she uses it with extraordinary intelligence and elegance made of sobriety and severity. Her grave register is thick and deeply moving; her virtuosity touches sublime levels. She had a flooding applause and she was forced to repeat the "cabaletta"
TEODORO CELLI, il Messaggero, 24/6/1984
In Concert at Teatro Regio of Torino
"...this extraordinary singer knew how to impress the tension of a fatal effort to each note, plowing the air with lighnings of voice. She had a real endless triumph that repays her for her real musical severity and her intelligence."
DUILIO COURIR, Il Corriere della Sera, 31/8/1984
"No reserve toward Lucia Valentini Terrani, definitely the best actual "mezzo-coloratura". Without effort and exageration but disclosing treasures, half tones and expressions, thanks to a very first order voice and technique and most of all to an exeptional will she always succedes not only to show every aspect ov the character but she pushes herself to discover some new ones."
ALAIN ARNAUD, Diapason, 15/9/1984
CARMEN at the Teatro Regio of Torino
"A deeply studied chamber, beat per beat, accent per accent, very measured gesture, since everything was said with the only media that possibly and plausibly is given to an Opera interpreter: the Voice. The Valentini Terrani so reconciled us with this misterious and uneasy creature... Fully relying to the richness of her voice. She reconciled us because after all the screamed, yelled, gestured, frenzied and exasperated Carmen, the whole design of the sigar-seller was brought back within the terms of the score, of the vocal score, as wanted from Bizet... all of this was listened in the Carmen of Valentini Terrani thanks to a scrupulous sing school than educated her to sing and not to yell."
EGIDIO SARACINO, Avvenire, 31/3/1988
ORFEO ED EURIDICE at the Teatro San Carlo
"Lucia Valentini Terrani, the best mezzo-soprano in the present day, had to match herself with Orfeo's myth... as the ideal interpreter. With a modest and inner interpretation of the character, the Valentini Terrani gave to her singing that elegance, that sobriety proper of Gluck, Spontini, Cherubini... The same warm and srong color of her voice can only recall the mytical Kathleen Ferrier of whom the Valentini Terrani represents the ideal extension."
SERGIO SEGALINI, Opera International, 1988