New York Times
“Serena Benedetti was smoothly expressive, particularly in her slow arias”
L’Opera Milano
"...she is a beautiful woman, a fascinating actress, and has a fresh and lyrical voice."
Opera News
"...the evening’s highlight, fulfilling the letter and the spirit of bel canto.”
“Serena Benedetti, who drew the Sills role of the Emigrant’s Companion, tossed the crazy music off like some amiable cabaletta, her lovely, deep soprano mastering the dramatic phrases lyrically, the lyric phrases dramatically. This is a voice one is very eager to hear take on more wide-ranging assignments. Apparently she can do anything beautifully.” - Parterrebox.com
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“The audience favorite was Serena Benedetti, for good reason, as she was the archetypal 21st Century avant-garde soprano. Her whisks up and down the scale, or giving vent to the highest notes, was more than impressive.” - ConcertoNet.com
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"Soprano Serena Benedetti was thoroughly in command of the treacherously high-lying vocal lines of the Companion. She sings a stratospheric passage as kozmic, gossamer clouds of music float by: bells and flutes echo on the air." - Oberon’s Grove
“The soprano Serena Benedetti appeared late in the opera as a faithful, solace-giving Companion to the Emigrant, but made her short time on stage fully count. Her shrieking aria professed hope — “I’ve felt the bliss of existence/even when the sky/was a mass of lead” — but in jarring intervals that the brain is conditioned to hear as horror.” - New York Classical Review
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“Serena Benedetti was smoothly expressive, particularly in her slow arias” - The New York Times
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“Benedetti sang with angelic surety” – Sarasota Herald Tribune
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“Serena Benedetti, a soprano, sang beautifully in the Debussy numbers.” - The New York Times
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"Benedetti’s uplifting, vibrant voice with her stylish expression, was a welcome surprise.” - Florida Sun-Herald
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"The adjusted arrangement [of Mahler's Symphony No. 4] worked best in a tender, practically Mozartean adagio and in an appropriately childlike finale that featured a fresh-voiced performance by Serena Benedetti, an appealing soprano...Ms. Benedetti [gave a] .warmly lyrical performance of Barber's "Knoxville: Summer of 1915". a lissome, sweetly sung account, sensitively accompanied by Mr. Segal and his players." - The New York Times
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“Serena Benedetti is that rare bird… [she] put over “Mercy” (Andre Previn) with solid intonation and savvy husbandry of vocal power. “Stones” is the risqué piece of the quartet and Serena Benedetti sold it with such force and inflection that she received a mid-cycle ovation...Overall this was a very affecting performance.” “Ms. Benedetti demonstrated superb diction and enviable emotional projection…the voice was rich and creamy, full-bodied and sensual.” - The New York Sun
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“Soprano Serena Benedetti…sang beautifully, both in solo passages and as an ensemble…” - Eugene Register Guard
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“Soprano Serena Benedetti produced lovely, silver-edged tones.” - Atlanta Journal-Constitution
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“Soprano Serena Benedetti [was] excellent both in single and ensemble roles.” - The Washington Post
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“Soprano Serena Benedetti was an ideal Susanna: she is a beautiful woman, a fascinating actress, and has a fresh and lyrical voice. Her ‘Deh vieni non tardar’ was extremely sweet and silky, winning the audience’s favor.” – L’Opera Milano
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“Having a poetic name like Serena Benedetti can't hurt a young artist, and the New York soprano made a charming Susanna… Benedetti's bright-toned and flexible vocalism was consistently engaging, and she is clearly a gifted singer with a future.” – Florida Sun-Sentinel
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“Benedetti makes an irresistible Susanna, who manages the count's advances and plot complications with a charming spirit.” – Sarasota Herald-Tribune
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“Susanna, portrayed with gleeful, glistening voice by Serena Benedetti.” – The Observer
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“Benedetti’s introspective interpretation is at its finest in ‘Per pieta,’ in which Fiordiligi prays that her absent lover will forgive her for falling in love with another man”. - Utah Tribune
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“Benedetti possesses a gorgeous, creamy voice that begs to be heard here in larger roles.” – Norfolk Port Folio Weekly
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“Much applause goes to…Serena Benedetti (Marzelline)” - The Washington Post
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“Soprano Serena Benedetti was a lively Marzelline, singing with a light, lyrical sound that suggested both flightiness and sincerity.” -The Virginian-Pilot
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“Soprano Serena Benedetti is appropriately girlish and stylishly Mozartian as Rocco’s daughter, Marzelline…” – Richmond Times-Dispatch
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“Soprano Serena Benedetti played Adina…with sparkling personality and a voice to match. Singing with a bright timbre that flowed smoothly from the brilliant top of her range to the secure bottom notes, she negotiated florid passages with ease, and she moved with coquettish lightness.” - The Cleveland Plain Dealer
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“As Adina, Serena Benedetti offered a lovely presence with a voice to match: even, colorful and free of strain. It was easy to see why Nemorino would pine for her, and the Act II duet, in which Adina finally declares her love for him, was rightly the evening’s highlight, fulfilling the letter and the spirit of bel canto.” - Opera News
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“Benedetti caressed Adina’s vocal lines with a pure-toned soprano that soared radiantly in the high climaxes. She sang Adina’s last act aria tenderly and truly. And her voice shot with ease through all the florid lines.” - New Jersey Courier-Post