Handel: Arianna in Creta
London Handel Festival
"...she is all crystalline tone and spine-tingling high notes."
Tim Ashley, The Guardian
"...I'd certainly want to hear Soraya Mafi again. The skirt she wore as Arianna seemed more San Francisco than Ancient Greece, but her emotional conviction and sturdy soprano still forged a convincing character, trapped in one of those moral tizzies and misunderstands so typical of opera seria."
Geoff Brown, The Times
"...with a clear, bright soprano was Soraya Mafi, a highly versatile young soprano who was recently awarded the Maggie Teyte Award and Miriam Licette Scholarship...Miss Mafi proved to be the most technically proficient of all the singers on display. My instincts suggest that you could put any sort of score in front of this young singer and she would tackle it with the same level of commitment and poise she brought to the role of Arianna. It was really exciting that for a few seconds she stepped off the stage and sang with full voice virtually next to my seat. By contrast it was her ability to float a line sotto voce that was probably the most impressive aspect of her performance. I have no doubt we shall see a lot more of her on the operatic stage in future."
Miranda Jackson, Opera Britannia,
"Soraya Mafi was a beguiling Arianna, mistaking Teseo’s intentions in
risking his life to save Carilda from the Minotaur before Minos decrees that Arianna herself must be sacrificed in her place. As such, Mafi brought the passion of a lover as well as the desperation and fury of one who thinks herself betrayed, skilfully juxtaposing these in her aria ‘Sdegno, amore fanno’ at the end of Act One."
Curtis Rogers, Classical Source
Ravel: L'enfant et les Sortileges
"Soraya Mafi is enchanting..."