"Phaedra fue interpretada por Natascha Petrinsky, cuya grata presencia escénica y gran voz dieron vida a un complejo personaje. Petrinsky afrontó las endiabladas coloraturas escritas para el rol de manera impecable."

"Natascha Petrinsky cantó de manera impecable y con excelente dicción, de manera que la letra fue escuchada perfectamente."

“Natascha Petrinsky's impassioned Jocasta, who sang this music as if it were Verdi, bringing the lie to Stravinsky's alienating devices.”

“As Jocaste Natascha Petrinsky possessed a molten quality which intensified in her higher
register…”

Junto a Ainhoa Arteta, es de destacar la actuación de Natasha Petrinsky, una sensacional Mère Marie. El personaje, en este caso, si que es una mujer decidida y valiente. Y la estupenda voz de Petrinsky transmitió constantemente el sentido dramático del personaje, cantando además con exquisito gusto y ajustada dicción.

Deben destacarse las buenas interpretaciones de Natascha Petrinski y de Elena de la Merced, así como las de Christophe Fel o José Luis Sola.

Destacó la fuerza del canto y la rotundidad de emisión de Natasha Petrinsky, en una irreprochable Mère Marie.

La mezzo Petrinsky, no solo cantó con bella y potente voz, sino que hizo una Marie de la Encarnación seria y real.

El canto de Natasha Petrinsky como Mère Marie conlleva una buena expresión y poder.

"Pleasingly rounded performances too from the entire cast, but particularly Natascha Petrinsky (The Fox)."

"Hearing Natascha Petrinksy as Marie is an experience in itself, as she shifts with ease between deepest resignation and heightened drama: a wonderful singer and actress."

"With the internationally experienced guests Vincent Le Textier and Natascha Petrinsky, Lübeck was able to present two top quality singers. The Austrian mezzo soprano combined loving, young motherliness with moments of danger, taking her beautifully phrased lines to sudden dramatic eruptions."

"Singers of the highest calibre capped the evening: first and foremost Natascha Petrinsky's vivid Marie, with her sleek, strongly focussed mezzo soprano voice."

“The Rhinemaidens not only sang beautifully but looked smashing.”

“Alexandra Coku, Natascha Petrinsky and Elena Zhidkova were the strongest Rhinemaidens I have heard; their singing was absolutely secure but also beautifully phrased.”

“Venus is sung by the young Austrian mezzo Natascha Petrinsky, a graceful personality with a voice of ice and of fire.”

“You would search in vain to find a more ideal Venus, both vocally and physically, than Natascha Petrinsky.”

“Natascha Petrinsky’s timbre as Venus is darkly sensual.”

“Natascha Petrinsky is an electrifyingly sensuous Venus.”

“Venus (Natascha Petrinsky) is tender yet powerfully-voiced.”

“The beautiful sensuality of Natascha Petrinsky’s Venus…”

“Natascha Petrinsky’s Venus is superbly seductive, served by an entrancing mezzo timbre.”

“Venus was sung with sensuality and youthful spirit by Natascha Petrinsky.”

“Austrian mezzo Natascha Petrinsky is a charming Venus.”

“As Venus, Natascha Petrinsky stands out as the best of the cast.”

“Natascha Petrinsky as Varvara proved to be the most consistent in singing and acting: an attractive colour of voice, a considerable volume and a great dramatic intensity.”

“In a homogenous cast the fresh and flexible Varvara of Natascha Petrinksy stands out.”

“Natascha Petrinsky as Varvara stood out specially.”

“Natascha Petrinsky is a Varvara full of tension and energy.”

“A special mention to the especially fresh Varvara of Natascha Petrinsky.”

“Among the singers also Natascha Petrinsky, who sang Varvara, made a powerful impression with her strong and expressive voice.”

“Soloist Natascha Petrinsky (mezzo-soprano) interpreted the 4th movement “O Mensch! Gib Acht!” in impeccable fashion. The essence of her voice is life-giving, organic and touches the heart.”

“Natascha Petrinsky sang well as an authoritative and proud Venus.”

“As Venus, the young Austrian mezzo Natascha Petrinsky was a definite vocal plus for the production. Her sensuous, slightly nervous timbre and elegant, seductive tone made for a forceful portrayal of the goddess of love.”

“The title role was stunningly well sung by Stuart Skelton: effortless, clarion tone allied to expressive musicianship. The glamorous Viennese Jocasta, Natascha Petrinsky, also new, was just as impressive.”

“Natascha Petrsinky’s grainy mezzo scaled the melodic joys and sorrows with flesh-tingling intensity.”