AphroditePatoulidou

Press

• La Clemenza di Tito

  Les Talens Lyrique

  Jun 2026

  • [...] singing with clarity and precision..Patoulidou’s aria, “Deh! se piacer mi vuoi” developed into a full blossomed tonal palette as her voice eased into it. I especially enjoyed her lower notes at the ends of phrases such as “Chi ciecamente crede, Impegne a serbar fede" […] Her coloratura was her vocal high point[…] The audience applauded her generously after this aria. [...] “Non piu di fiori” was a special moment in Patoulidou’s performance and the opera seria.

    • Jennifer Pyron, Operawire
    • 01 July 2026

  • Spontaner Beifall brandete bereits nach der ersten temperamentvollen Arie von Aphrodite Patoulidou auf. Als erzürnte Kaisertochter Vitellia stiftet sie ihren Geliebten Sesto (mit zunehmend packender Intensität: Maite Beaumont) an, Tito zu ermorden, weil er nicht sie zur Gattin gekürt hatte. [translated] Spontaneous applause broke out immediately after Aphrodite Patoulidou’s first spirited aria. As Vitellia, the enraged daughter of the emperor, she incites her lover Sesto (played with increasingly gripping intensity by Maite Beaumont) to murder Tito because he had not chosen her as his wife.

    • Angelika Silberbach, Main-Post
    • 14 June 2026

  • Recitative occupies much of the work, and the sung dialogues were despatched here fluently and launched in a non-nonsense manner by Greek soprano Aphrodite Patoulidou as the vengeful Vitellia. Her transformation from manipulator to pleading wretch was wholly believable, mirrored in an imperious ‘Deh, se piacer mi vuoi’ where she breathed fire and brimstone when demanding Sesto’s loyalty. A more placatory tone wrapped itself round her Act 2 ‘Non più di Fiori’ (a lovely basset horn in support) as Vitellia’s conscience dictates the need to save Sesto by confessing her actions to Tito. With this outstanding rendition the emotional temperature soared and lifted this concert performance to a new level.

    • David Truslove, Opera Today
    • 15 June 2026

  • Aphrodite Patoulidou captured the wounded brilliance and hurt pride of Vitellia admirably, with her final aria in the second act a great showpiece success, a real high point of the evening.

    • Tim Hochstrasser, Plays to See
    • 12 June 2026

  • Aphrodite Patoulidou shot off like a rocket, all incendiary fire and fizz allied to formidable control across her range ad spectacular strength at the top. Such was her flammable charisma in the opening scenes (especially in the white-hot passion of “Deh, se piacer mi vuoi”) that you feared she might scorch the stage bare for everyone else…absolute firecracker

    • The Arts Desk
    • 10 June 2026

  • Patoulidou managed to dominate Act One, despite the paucity of arias, because of her command of recitative. Patoulidou made Vitellia wonderfully vituperative and manipulative. She made a powerful and intense contribution to the trio in Act One when Vitellia realises that her thirst for vengeance has made things go awry. Patoulidou has a lithe voice which achieved surprising power, yet there was remarkable delicacy in the passagework too… her final great aria ‘Non più di fiori’ was compelling.

    • Planey Hugill
    • 10 June 2026

  • It was clear from the moment she strode onto the stage in her flame-red dress that Aphrodite Patoulidou was going to be a scorching Vitellia, but her strength was not just in her fiery arias but her controlled moments of delicacy such as the phrasing of the opening of ‘Non più di fiori’ – all Vitellias reach over the bar lines at times but all are not so capable of scaling down the voice when required.

    • music OMH
    • 10 June 2026

  • Aphrodite Patoulidou, in a flame-red dress that matches her character’s fiery nature, uses exquisite facial expressions and body language as well as her fabulous voice to convey her changing emotions. Scheming, manipulative and volatile, her Vitellia is undoubtedly a force to be reckoned with.

    • Southern Arts Reviews
    • 10 June 2026

• Changing Light, Saariaho

  Helsinki Philharmonic and Pekka Kuusisto

  Sep 2024

  • Performed with focused intimacy by Kuusisto and soprano Aphrodite Patoulidou, Changing Light was rendered in candlelight manner, its musical conversations accounted in whispers of engrossing color and nuance.

    • Jari Kallio, AIM
    • 09 September 2024

• Les Illuminations, Britten

  Deutsches Symphonie Orchester led by Dalia Stasevska

  Jun 2024

  • Benjamin Britten’s song cycle “Les illuminations”, on the other hand, is often performed, but rarely with such verve as by Aphrodite Patoulidou, who performed Rimbaud’s verses in a way that did justice to both her first name and the title of the work. The soprano’s dramatic talent and intonation artistry border on the miraculous; even extreme exaltation does not endanger her credibility and certainly does not endanger her supple timbre. One has to resort to comparisons with Barbara Hannigan to characterize the radically personal performance art of the Greek, who currently lives in Berlin.

    • Volker Tarnow, Berlin Morgenpost
    • 03 June 2024

• Lonely Child, Vivier

  Barbican, London

  Mar 2023

  • Patoulidou, her voice a mixture of silk and steel, was utterly mesmerising.

    • Tim Ashley, The Guardian
    • 03 March 2023

  • The compelling soloist was Aphrodite Patoulidou, a remarkable Hannigan protégée whose repertoire extends from Purcell to heavy metal.

    • The Times
    • 03 March 2023

  • Hannigan’s orchestral control was outstanding, producing from the players a dazzlingly coloured and finely textured musical response, while the silver-voiced Aphrodite Patoulidou, ululated and declaimed her way through the challenging solo part with supreme confidence.

    • Christopher Sallon, Seen and Heard International
    • 12 March 2023

• Symphony No. 4, Mahler

  On Tour with the London Symphony Orchestra and Barbara Hannigan

  Mar 2023

  • Pure voice, excellent diction, impeccable accuracy, reduced and magnificently dosed vibrato, the Greek soprano sings her part magnificently and opts with good reason for a bias of welcome simplicity, without trying to bring the listener back at all costs to the green paradises of the childhood.

    • Patrice Lieberman, Bachtrack
    • 12 March 2023

  • The Greek singer Aphrodite Patoulidou makes a remarkable appearance. Holding an extremely rich and woody voice in the bass, but also clear and assured in the treble, she draws lines of sung lyrics with a joyful and celestial narration. Combining classical and contemporary registers, this multi-talented artist who also sings metal music, offers an intensity of timbre and impeccable prosody bringing a personal touch to the opus in record time.

    • Soline Heurtebise, Olyrix
    • 11 March 2023

  • Soprano Aphrodite Patoulidou delivered a marvellous performance, her innocent and youthful tone carrying an ominous and haunting quality. The final line, “The angelic voices rouse the senses so that everything awakens with joy”, concluded the soprano-child’s praising of the afterlife, leaving the audience feeling transported, if somewhat uneasy.

    • Constance Ayrton, The Upcoming
    • 12 March 2023

  • Aphrodite Patoulidou gave an impressive Philharmonie debut. She not only sang in an understandable way with a clear, beautiful and confident voice, but also designed every line of the childishly naive lyrics that tell of the “heavenly joys”. She was accompanied sensitively by the orchestra – let’s not forget that a fellow singer made sure that the voice was always present over the orchestra. By the way, the resume of Patoulidou is interesting to read: her repertoire not only ranges from Purcell to Claude Vivier, but she occasionally sings heavy metal and is also artistically versatile outside of music.

    • Brian Cooper, Klassik Begeistert
    • 12 March 2023

  • In Aphrodite Patoulidou, Hannigan had found a singer who knew how to describe the “heavenly joys” of the Wunderhorn verses with balanced singing and wonderfully designed arches.

    • General-Anzeiger
    • 12 March 2023

  • The Greek soprano Aphrodite Patoulidou steps in. She sings of the “heavenly joys” without flattering timbre, with a clear sense of the hidden allusions to murdered innocence. The applause is big and respectful.

    • Anke Demirsoy, WAZ
    • 06 March 2023

  • The soloist made her entrance silently yet theatrically at the start of the finale, and she sang, appropriately, like an angel.

    • John Rhodes, Seen and Heard International
    • 13 March 2023

  • A soul image of inwardness, devotion and gentle madness emerged, which unfolded its very own charm.

• Igorrr + Otto Von Schirach

  Electric Brixton, London

  Apr 2022

  • „The mesmerising vocals of Aphrodite Patoulidou were simply amazing and proves that an opera voice definitely belongs in the experimental music setting“

    • Metal Rules
    • 16 April 2022

  •  The tension built and light and darkness juxtaposed via sublime soprano vocals from new vocalist the incredibly talented Aphrodite Patoulidou … Partway through the set, a technical issue with the microphone means we’re treated to the full power of Aphrodite’s voice as she projects her voice to the audience, without the PA to assist keep them entertained whilst the offending cable was fixed, what a voice… 

    • Ghost Cult Magazine

• Lonely Child, Vivier

  Ojai Music Festival,

  Jun 2019

  • The soprano Aphrodite Patoulidou was an entrancing soloist in Vivier’s “Lonely Child"

    • The New York Times
    • 19 June 2019