gaia petrone


Ramise, ARMINIO, Karlsruhe Handel Festival 2017, Karlsruhe; cond. George Petrou, dir. Max Emanuel Cencic  

Avec Gaia Petrone, le plaisir d’entendre un vrai timbre de mezzo nous est offert, et le rôle de Ramise en paraît vraiment trop peu étoffé. Pour tout le reste, nous ne pouvons que réitérer les compliments déjà accumulés par nos collègues. / With Gaia Petrone the pleasure to listen to a real mezzo timbre is offered to us, and the role of Ramise seems really too less for her. Concernant all the rest, we can only reiterate the compliments already accumulated by our colleagues.

Aurora / Fosforo, LA MORTE D'ORFEO, Muziekgebouw - Opera Forward Festival, Amsterdam; cond. Christophe Rousset, dir. Pierre Audi

Présente au début et à la fin de l’œuvre, Gaia Petrone séduit par la densité de son timbre de mezzo. / Present at the beginnnig and at the end of the opera, Gaia Petrone seduces for the density of her mezzo timbre.
The stand-out vocal contribution of the evening, though, came from the Aurora of mezzo Gaia Petrone. Like the contralto Sonia Prina, who has impressed hugely in the past, Petrone has the ability to make us forget the intervening years between the composition and the now; emotions are as real and present as they would be in a person today (..) / Il contributo vocale di spicco della serata è tuttavia venuto dall’Aurora del mezzosoprano Gaia Petrone. Come il contralto Sonia Prina, che ha impressionato enormemente in passato, Petrone ha l’abilità di farci dimenticare gli anni che sono intercorsi tra il tempo della composizione e l’oggi; le emozioni sono reali e presenti come lo sarebbero in una persona di oggi.
— Seen and Heard International

Angelina, LA CENERENTOLA, Teatro Sociale, Bergamo; cond. Yi-Chen Lin, dir. Arturo Cirillo

Souffrante, Cecilia Molinari a dû laisser la place (en dernière minute) à Gaia Petrone, la première jouant sa partie sur scène pendant que l’autre délivrait la partie vocale depuis le bas-côté du plateau. Découverte au dernier festival de Martina Franca, la mezzo italienne renouvelle ici notre enthousiasme estival, et conquiert l’auditoire dès son premier air, «Una volta c’era un rè», avec son timbre bronzé et délicatement flexible dans l’aigu. / Suffering, Cecilia Molinari had to leave the place (last minute) to Gaia Petrone, the first playing her part on stage while the other sang the vocal part from the side of the stage. Discovered at the last festival of Martina Franca, the Italian mezzo renews our summer enthusiasm, and conquers the audience from her first aria, “Una volta c’era un re,” with her burnished and delicately flexible in high notes timbre.



Megacle, L'OLIMPIADE, Teatro San Carlo, Napoli; cond. Gianluca Marcianò, orchestra and chorus of Teatro di San Carlo

(..) l’intensa Gaia Petrone costruisce il canto di un Megacle straordinario; / intense Gaia Petrone builds up the singing of an extraordinary Megacle
(..) la migliore Gaia Petrone con Emanuele D’Errico per Megacle (notevole senz’altro la sua celebre aria “Se cerca, se dice” ) / The best is Gaia Petrone with emanuele D’Errico who play the role of Megacle (remarkable with no doubts her famous aria “Se cerca, se dice (..)
— La Quinta Giusta
Gaia Petrone (contralto) è Megacle, ottimi timbro e colore / Gaia Petrone (contralto) is Megacle, with excellent timbre and colour of voice (..)
— Il trillo parlante


Caino, LA MORTE D'ABEL, Festival Purtimiro 2017, Lugo di Romagna; cond. Rinaldo Alessandrini, Concerto Italiano

Risalto plastico ha avuto il Caino del mezzosoprano Gaia Petrone la cui voce, dal timbro seducente, ha dato toccante veridicità ai sentimenti contrastanti del fratricida. / Mezzosoprano Gaia Petrone’s Caino stood out, whose charming timbre gave touching veracity to fratricide’s contrasting feelings
Bravissima invece il mezzosoprano Gaia Petrone: si potrà forse obiettare che il suo ricorso al canto di portamento, unito a un’emissione non indenne da un certo vibrato (più congeniale ad altri repertori), erano parzialmente fuori stile. Resta il fatto che ogni singola parola diventava perfettamente intellegibile e il personaggio di Caino assumeva, con lei, un potente rilievo drammatico: a spingerlo al fratricidio sono l’invidia e il fastidio verso un fratello troppo perfetto. / Mezzosoprano Gaia Petrone was outstanding: it can be said, maybe, that her recourse to canto di portamento and her use of vibrato (more congeniali to other repertoires) were partialy out of style. But the fact is that every single word became perfectly intelligibile and the character of Caino assumed, thanks to her, a strong dramatic importance: envy and annoyance for a too perfect brother push her/him to fratricide.
— Il Ponte


Isaura, MARGHERITA D'ANJOU, Festival della Valle d'Itria 2017, Martina Franca; cond. Fabio Luisi, dir. Alessandro Talevi

Mezzo Gaia Petrone as Isaura was arguably the best on stage: she could sing touchingly and highlight the naive side of the character, and was impressive in the final rondò ‘Oh ciel, qual mai contrasto’ followed by her final aria.
Sempre più sorprendente si ritrova a sua volta Gaia Petrone, impeccabile nell’articolare le diaboliche figurazioni minute del rondò finale, ma ancor più adorabile nel palpitante progresso psicologico del personaggio di Isaura e ammirevole per la conseguita continuità di registri dallo squillo di testa all’affondo di petto: ciò che si auspicava quando, perfezionanda alla Kammeroper di Vienna, già si riconoscevano in lei l’eccellenza dei mezzi e l’intelligenza dell’artista / Even more surprising Gaia Petrone, impeccable to articulate the diabolic and tiny figurations of her final Rondó, but even more adorable in the quivering psychological progress of Isaura’s character, and admirable for homogeneity of her registri, from her squillo di testa to her affondo di petto: this is what we hoped for her when she was at Wiener Kammeroper, and we yet could recognize her excellent means and artistic intelligence.
— L'Ape Musicale
Nelle difficili parti vocali, Luisi può avvalersi di artisti ben consapevoli sul piano stilistico: una menzione particolare al contralto Gaia Petrone, per la composta eleganza del suo canto (..) / In the hard leading roles, Luisi can take advantage of stylistically very conscious artists: honorable mention to contralto Gaia Petrone, for her dignified elegance in her singing
— Il Giornale della Musica
Ma almeno due cantanti si fanno notare eccome: si tratta del basso Marco Filippo Romano e del contralto (contralto vero, non mezzosoprano) Gaia Petrone / At least two singers get noticed and how: bass Marco Filippo Romano and contralto (a real contralto, and not a mezzosoprano) Gaia Petrone
— Il Corriere della Sera
Gaia Petrone’s warmth of tone and the seeming effortlessness of her leaps across the octaves are ideal qualities for the part of Isaura. There is a naturalness to her acting which fills in gaps in the text and the music, lending depth to her exchanges with other characters
— Seen and Heard International
Gaia Petrone’s dramatic mezzo-soprano stood out as Isaura for her rich, velvety voice.
— bachtrack
(..) il mezzosoprano Gaia Petrone, bella voce morbida e interprete sensibile / mezzosoprano Gaia Petrone, beautiful and soft voice and sensitive performer
— Connessi all'Opera
La parte più complessa del melodramma è infatti toccata alla bravissima Gaia Petrone, mezzosoprano di volume non grande ma estremamente raffinata, a suo agio nelle agilità, affrontate con coerenza stilistica e invidiabile precisione, morbidissima nell’emissione e perfetta nella dizione. / The hardest role was up to impeccable Gaia Petrone, mezzosoprano without a big volume but extremely refined, who was at her ease with agility, that she deals with stylistic coherence and enviable precision, with a very smooth emission and a perfect diction.
— GB Opera Magazine
Gaia Petrone, as Isaura, gave a compelling performance as the naïve abandoned wife of Lavarenne, (..) Her acting and singing were of a consistently high quality throughout the evening. She brought laughter to comic scenes, such as in Act 1 when she is persuaded by Michele to dress as a male model and join the catwalk, and was at a complete loss on how to behave, her random movements at odds with the slick, stylized posing of the other models. She engendered sympathy when she was asked, by Lavarenne, to deliver a letter to Margherita, her rival. Yet, it was her singing that really impressed; her aria in the second act, “Mio pianto rasciuga,” in which she hopes, against hope, that her husband will return to her was sung with intense longing. Her phrasing was delicate and dripping with sadness, the lines beautifully decorated, the dynamics controlled. Obviously, even the emotionally retarded Lavarenne was unable to resist
— Opera Wire
Mit samtiger, geläufiger Gurgel singt die junge, aus Macerata stammende Mezzosopranistin Gaia Petrone die Hosenrolle der Isaura. / The young mezzosoprano Gaia Petrone, native of Macerata, sings the en travesti role of Isaura, with a velvety timbre
— Die Deutsche Bühne
Isaura di Gaia Petrone è stata forse l’altra sorpresa di questa produzione: bel timbro scuro e incisività nel fraseggio. / Gaia Petrone’s Isaura was the other surprise of this production: beautiful dark timbre and incisiveness in phrasing
Das war ein außerordentlich gutes Sänger Ensemble, dem jedoch die Mezzosopranistin Gaia Petrone als heimliche Königin Isaura vorstand / It was a great cast, but Gaia Petrone stood out in the role of the secret queen.
— Deutschlandfunk
E meglio di tutti – è anche Meyerbeer a privilegiarla – fa il mezzosoprano: Gaia Petrone è perfetta (il suo aspetto minuto e brevilineo qui l’avvantaggia) nel suo ruolo di finto paggetto, dietro il quale si nasconde una sposa innamorata determinatissima a riconquistare il marito, d’altronde solo platonicamente fedifrago. La compostezza della linea canora, abbinata però a un fraseggio plastico e mobile, ne fa un elemento di sicuro interesse: sarebbe bello riascoltarla in qualche grande ruolo del nostro Ottocento preverdiano. / Mezzosoprano Gaia Petrone is perfect among all (her tiny and little appearance favours her..) in her role of false page, behind which is hidden an enamoured bride, resoluted to reconquer her husband, who is after all just platonically unfaithful. The nobility of her singing line, combined with a flexible and agile phrasing, makes her an element very interesting: we would like to listen to her singing a big role of our 19th century before Verdi.

Ninfa e Proserpina, ORFEO, Teatro Ponchielli, Cremona; cond. Ottavio Dantone, dir. Andrea Cigni

Piace il mezzosoprano Gaia Petrone, precisa e di bel timbro, che delinea una Ninfa fresca e una Proserpina dolente / We liked the precise and provided with beautiful mezzosoprano timbre Gaia Petrone, whom outlines a fresh Ninfa and a painful Proserpina
— Connessi all'Opera
(..) e Gaia Petrone come Proserpina/Ninfa entrambe dotate di gusto nel porgere la parola e nel canto di conversazione / (..) and Gaia Petrone as Proserpina/Ninfa, both of them provided with taste in their way of speaking and singing
— MTG Lirica

Ramise, ARMINIO, Badisches Staatstheater Karlsruhe; cond. George Petrou, dir. Max Emanuel Cencic

Opposed to this heroic main couple there is the relationship of Ramise (and Sigismondo), who is vigorously portrayed here by Gaia Petrone as a grotesque drunkard with a real nimble alto voice (..)
— Pforzheimer Kurier, February 2017
Gaia Petrone dava vita a una Ramise esuberante e dai tratti simpaticamente stravaganti \ Gaia Petrone embodies an exuberant Ramise, full of nicely bizarre features.
— Il giornale della musica, March 2017
L’Arminio inizia con un duetto, ce ne saranno altri due assieme a 26 arie solistiche tutte molto ben caratterizzate, soprattutto quelle di Arminio, Tusnelda e Ramise a cui corrispondono gli interpreti più interessanti di questa edizione: Max Emanuel Cenčić, Lauren Snouffer e Gaia Petrone rispettivamente. Quest’ultima soprattutto, unica italiana della compagnia, dimostra qualità vocali e sceniche sorprendenti, oltre che una dizione perfetta. La sua Ramise è poi ricca di tratti ben assecondati dalla regia di Cenčić \ Arminio begins with a duet, there will be two more ones along with 26 arias all very well characterized, especially those of Arminio, and Tusnelda Ramise which correspond to the most interesting interpreters of this edition: Max Emanuel Cenčić, Lauren Snouffer and Gaia Petrone respectively. This last one especially, the only Italian singer in the company, demonstrates amazing vocal and scenic qualities, as well as a perfect diction. Her Ramise is then full of features well supported by Cencic’s direction (..)
— L'opera in casa, March 2017
This ignoble father (...) has a young son sighing for Ramise, the sister of Arminio, a character made buffo by the staging and that the mezzo-soprano Gaia Petrone sings deftly.
— Anaclase, February 2017

Ramise, ARMINIO, Juliusz Slowacki Theatre; cond. George Petrou, orch. Armonia Atenea

(..) blessed with a warm alto voice with a wide colour, Gaia Petrone created the expressive character of Ramise, beloved by Sigismondo (..)
— Magikzny Kraków, February 2017

Abra, JUDITHA TRIUMPHANS, Theater an der Wien / Concertgebouw Amsterdam / Opéra Royal du Château de Versailles ; dir. Robert King, orch. The King's Consort , Choir of The King's Consort

From her side Gaia Petrone sings an Abra with strong personality. The Italian mezzosoprano, with her almost rebellious look, reveals a perfect technique while physically living her role: in her aria “Non ita reducem” she follows the vigorous rhythm of the orchestra shaking her head, stirring her shoulders, ready to dance.
— Olyrix, February 2017
With a close sound, but more sonorous at the bottom of her range, Gaia Petrone is an Abra full of punch, which does not resist the pulsation of her air “Non ita reducem” : we cannot resist neither!
— Forum Opéra, January 2017
Gaia Petrone spreads out in Abra a wide mezzosoprano voice, flexible and with beautiful and bright high notes. She interprets her role with conviction, insisting on Abra’s complicity with Juditha
— Operaphile, January 2017

Angelina, LA CENERENTOLA, Smålands Musik & Teater ; cond. Christian von Gehren, orch. Jönköpings Sinfonietta, choir Choras Vilnius

Italian Gaia Petrone in the title role with verve, both vocally as scenic. She has a nice ironic distance and still succeed in doing the role believable. Then we’ll have to buy her sweeping the floor wearing high heels and slim black case. All such oddities are forgotten when she magnificently tears off her final aria.
— Jönköpings Posten, January 2017

Emilia, OTELLO, Teatro San Carlo; cond. Gabriele Ferro, dir. Amos Gitai

Una menzione speciale va a Gaia Petrone per il bel timbro, la dizione chiara e un canto preciso e fluido con cui ha dato rilievo alla fedele giovane. \ A special mention to Gaia Petrone for her beautiful timbre, clear diction and precise and fluid singing, which gave prominence to the faithful girl
— Opera Click, November 2016
Gaia Petrone, as Desdemona’s maid and confidante Emilia, depicted a fine character, clearly contrasting and blending wonderfully well with Machaidze’s voice. \ Gaia Petrone, confidente e domestica di Desdemona, ha tratteggiato un personaggio raffinato, contrastando chiaramente e mescolandosi magnificamente bene alla voce della Machaidze.
— Bachtrack, December 2016
(..) trionfa la voce potente e raffinata di un’impeccabile Gaia Petrone (Emilia), talentuosa rivelazione che incanta il teatro con una presenza scenica intensa, affascinante e armonica, anticipando nel colore appassionante della sua voce (e del costume) quel rosso del sangue e del tormento, simbolo di un’opera archetipica della letteratura mondiale. \ Powerful and refined voice of flawless Gaia Petrone (Emilia) triumphs, a talented revelation that enchants the theatre with a strong, fascinating and harmonious stage presence, anticipating in her timbre’s passionate colour (and with her red dress) that same red of blood and torment, archetypal symbol of a worldwide masterpiece
— Recensito, December 2016
Bene l’austero Elmiro di Mirco Palazzi (..) analogamente all’Emilia di Gaia Petrone, dal canto fluido e cristallino, attenta a calibrare il bel volume al timbro drammatico da cui si sviluppa un fraseggio moderato e perfettamente studiato sulla parte \ Gaia Petrone as Emilia is fine, with her fluid and clear singing, she’s careful to calibrate her considerable volume to the dramatic tone, from which she develops a measured fraseggio, also perfectly studied on the role
—, December 2016
Precisa nel canto e disinvolta nel gesto è Gaia Petrone (Emilia). \ Gaia Petrone (Emilia) is precise in singing and confident in acting
—, December 2016

Ursule, BÉATRICE ET BÉNÉDICT, Théâtre du Capitole; cond. Tito Ceccherini, dir. Richard Brunel

Gaia Petrone, is here less a follower than a companion of Hero, and she has her own sentimental and / or sexual life. She participates in the nocturnal duet with a beautiful musicality and her dark timbre makes you want to listen to it in a more exposed role
— Forum Opera, September 2016
(...) the gorgeously sung Ursule of Italian mezzo Gaia Petrone.
— Opera News, December 2016
The Italian mezzo-soprano Gaia Petrone imposes a crepuscular timbre that fits perfectly in these two summits of the work that are the duet and the trio with Hero and Beatrice.
— Classic Toulouse, October 2016
Blessed as well the Italian mezzosoprano Gaia Petrone, whose eclecticism and vocal technique are inexhaustible. The naturally gilded voice is virtuous and sensitive, and as expression as musicality are innate
— Le Commercial, October 2016
The nocturne duo between her and her confidante Ursula (superb Gaia Petrone!) (..)
— Opera Online, October 2016
Her nocturne duo with Gaia Petrone’s Ursula, mezzosoprano with a warm timbre, and then the trio with Béatrice, are moments of grace
— ODB Opéra, October 2016

Emilia, OTELLO, Theater an der Wien; cond. Antonello Manacorda, dir. Damiano Michieletto

Rossini grants Desdemona’s younger sister, Emilia, a substantial character and some fine music, well-taken here by the multi-faceted Gaia Petrone.
— The Opera Critic, February 2016
(..) there, Gaia Petrone as Emilia, with her fine mezzosoprano voice, is much more attentive
— Wiener Zeitung, February 2016
Emilia (not a confidant according to Michieletto’s view but Desdemona’s sister) is an unscrupulous social climber behind the facade of daddy’s little girl) gets a sharp outline by Gaia Petrone
— Die Presse, February 2016
Gaia Petrone (indisposta e doppiata vocalmente da Alix Le Saux nella recita alla quale ho assistito) una Emilia di particolare intelligenza scenica \ Gaia Petrone (indisposed and vocal dubbed by Alex Le Saux in the performance I saw) was an Emilia of unusual stage intelligence
— L'Ape Musicale, March 2016

Angelina, LA CENERENTOLA, Gothenburg Opera; cond. Giancarlo Andretta, dir. David Radok (Mattias Ermedahl)

Gaia Petrone’s Cenerentola is gripping and after a slightly cautious start blossoms in her duet with Don Ramiro. Her silky smooth mezzo is wonderful to listen to, especially when she pleads with Don Magnifico to be allowed to go to the ball. Her coloratura is wonderfully musical, flowing like a chuckling stream and never seeming artificial. Ms Petrone also convincingly brings out Cenerentola’s remarkable goodness despite the years of humiliation she has suffered, especially in her wonderful final aria.
— Seen and Heard International, May 2015
The Italian mezzosoprano Gaia Petrone, in the title role, has a good dose of self-ironic distance. Her Cinderella grows during the game from the bullied maid to nobly forgiving princess, and vocally she impresses in many fast coloraturas. Gaia Petrone’s final rondo is a virtuoso coloratura piece that rightly arouses the audience’s cheers.
— Sydnärke Nytt, May 2015
Cinderella is portrayed by the well-young spirit of mezzosoprano Gaia Petrone. She finds herself well both as Cinderella at the scrub bucket and in the role of princess. She did her best bet in her final aria where an emotional depth clearly heard.
— Borås Tidning, May 2015

Alto, Handel MESSIAH, Liverpool Philarmonic Hall; cond. Nathalie Stutzmann, Royal Liverpool Philarmonic Orchestra, Royal Liverpool Philarmonic Choir

Messiah review: scripture and showbiz - Philharmonic Hall, Liverpool. A scaled-down RLPO provided restrained backing for mezzo-soprano Gaia Petrone and her Vegas accessorising in a sensual stab at Handel’s oratorio.
Handel’s twin influences of scripture and showbusiness seemed to be embodied in the elfin figure of the young Italian mezzo-soprano Gaia Petrone, who accessorised the unsullied tone of a boy chorister with an outsize belt buckle that Elvis might have rejected as too outrageous for Vegas. If receiving her UK introduction under the baton of Stutzmann – herself one of the most accomplished Handel contraltos of the age – was an intimidating experience, she did well to disguise it.
— The Guardian, January 2015

Pallade / Ippolita, ELENA, Opéra de Rennes; cond. Leonardo Garcia Alarcon, dir. Jean-Yves Ruf

Our heart leans towards the mezzo Gaia Petrone interpreting a touching, if not moving, Hyppolite
— Unidivers, November 2014


Pallade / Ippolita, ELENA, Théâtre Graslin de Nantes; cond. Monika Pustilnik, dir. Jean-Yves Ruf 

Accurate and stunning Ippolita: what the young Italian mezzo Gaia Petrone does with the humiliate, betrayed character reveals.. a vocal miracle. Her incarnation enlightens all the second part of the show (end of II act, the whole III act: so much the worse for our neighbours, who left the theatre at the intermission)..
— Classique news, November 2014
Only Gaia Petrone, splendid mezzo, sizes for the first time the exigent role of Ippolita (and Pallade). With a rich and deep timbre, a powerful emission that can pass lightly and nimbly, she is a lover alternately anxious, patheticc, desperate, aggressive and, finally, reconciled.
— Forum Opera, November 2014
The only one having her debut was Gaia Petrone, who performs a sensible, passionate, pathetic Ippolita, with her wonderful and dark mezzo voice and a rare expressive strength.
—, November 2014

Amastre, SERSE, Festival de Beaune; cond. Riccardo Minasi, Il Pomo d'Oro orchestra

(..) short-term debut in the role (of Amastre) but terribly promising for the young mezzo Gaia Petrone, born for Mozart’s trouser roles.
— Le Figaro, July 2014
This season you can equally discover other voices, especially in Handel’s Serse: the mezzosoprano Gaia Petrone have replaced Delphine Galou.
— Le Bien Public, July 2014

Annina, LA TRAVIATA, Theater an der Wien; cond. Sian Edwards, dir. Peter Knowitschny

(..) Gaia Petrone created a lovely cameo out of the rather thankless Annina
— The Opera Critic, July 2014
Gaia Petrone was a so intense, tender Annina
— Online Merker, July 2014

Sesto, LA CLEMENZA DI TITO; cond. Ruben Dubrovsky, dir. Alberto Triola 

In the discreet timeless costumes of Nina Hörner, the outlaw Sesto in punk dress was angry: poor Gaia Petrone, who already laid many performances as a beautiful character here and now in the trouser role of the anti-hero, proved courage to turn to ugliness and (both acting and vocally sure) to betrayal.
— Wiener Zeitung, April 2014
Gaia Petrone transports the embers of Sesto with her soft, touching mezzosoprano voice.
— Der Standard, April 2014
They were all overwhelmed by the impassioned, vocal-perfect Gaia Petrone as a glorious Sesto. She will soon be seen on a larger stage
— Die Presse, April 2014

Rosina, BARBIERE DI SIVIGLIA, Palm Beach Opera; cond. Patrick Fournillier, dir. Fenlon Lamb

As Rosina, Gaia Petrone proved a real discovery. The Italian mezzosoprano’s dusky timbre encompasses extremes of vocal range from deep low tones to an upper register that extends into soprano territory.
Petrone’s version of “Una voce poco fa” was highly ornamented, the trills accurate and fearless.  Her duet with Pogossov was  bouncy and delicate,  delivered with idiomatic flair. Petrone’s Rosina was a woman of real wiles, as much a schemer as her ward Dr. Bartolo. Her faux, tearful melodramatics when she learns the Count is not the student Lindoro had the cast and audience in stitches alike and, in the numerous ensembles, Petrone’s large instrument blended mellifluously with her colleagues.
— South Florida Classical Review, February 2014
As Rosina, the Italian mezzo Gaia Petrone was remarkable, portraying a tough-minded young woman who is nevertheless in the grip of infatuation, which makes for a nuanced performance that made her less a naïve damsel in distress and more of a very desirable but perfectly logical choice of romantic partner. Her singing that was especially notable: trained in early music and a veteran of Baroque opera, she has a darkly colored, muscular voice with which she is able to traverse the considerable coloratura demands of this role with seeming ease.
In few other productions of the Barber I’ve seen over the past 20 years or so have there been Rosinas with whom I didn’t sympathize for the obvious effort they were making. But Petrone sounds natural and precise in this music, tossing off the 32nd-note fripperies with fluidity and style. She made it sound easy and normal; her Una voce poco fa was rhythmically exact, and in her Contro un cor, there was a sweetness that made the aria doubly attractive
— Palm Beach Arts Paper, February 2014

Angelina, LA CENERENTOLA, Theater an der Wien - Kammeroper; cond, Konstantin Chudovsky, dir. Jasmine Solfaghari 

Protagonista è Gaia Petrone, la cui Angelina è patetica e affettuosa nel timbro di rotonda femminilità, e la cui statura di primadonna in fieri è comprovata dall’agiato registro di mezzosoprano, dall’affondo in turgori androgini, dal balenare a brillanti note acute, dallo sciorinare la coloratura minuta, dal volare da un capo all’altro della tessitura senza temere le più frastagliate cadenze \ Gaia Petrone is the protagonist, whose Angelina is pathetic and affectionate in round femininity timbre, and whose stature of prima donna in fieri has proven by her easy mezzosoprano register, by break in androgynous swellings, by flashing to brilliant high notes, by showing tiny coloratura off, by flying from one end to the other of the tessitura without fearing the most jagged cadences
— L'Ape musicale, December 2013
Both in this house and in the larger scale Theater an der Wien productions, Gaia Petrone has left a strong impression through her stage presence and intense acting, as well as through her luscious, well-produced mezzo. As anticipated, Angelina is an ideal choice for the young Italian, lying comfortably in dynamics and range, and with Petrone demonstrating bel canto agility and finesse to compete with so-called leading specialists in the field - in addition to a generous measure of charm.
— The Opera Critic, December 2013
The light of the performance is Gaia Petrone as Angelina, who deal with the coloratura passage with ability and shows a mezzo-soprano voice also very deep in the low register.
—, December 2013
The vocal light of the evening is Gaia Petrone. She sings an almost perfect Angelina, with nimble coloratura and beautifully led, slim mezzosoprano voice.
— Die Presse, November 2013
(..) Gaia Petrone had an exemplary stage presence (..)
— Wiener Zeitung, November 2013

Sibari, SEMIRAMIDE RICONOSCIUTA, Theater an der Wien - Kammeroper; cond. Alan Curtis, dir. Francesco Micheli

Gaia Petrone, nella parte del traditore Sibari, è poi un caso raro di voce mediosopranile, smaltata e timbrata alla perfezione, capace di scendere con naturalezza a una tessitura di vero contralto: mezzi vocali degni dei migliori impieghi su scala internazionale. \ Gaia Petrone, in the role of the traitor Sibari, is a rare case of “mediosopranile” voice, perfectly enamelled and resonant, being able to go down naturally to a real alto tessitura: vocal abilities worthy of the best employments on a worldwide scale.
— Il Corriere Musicale, October 2013
(..) every coloratura, even the most extreme, is shown by Primadonna Çigdem Soyarslan, only surpassed by the equally clear and agile mezzosoprano Gaia Petrone.
— Wiener Zeitung, September 2013
Gaia Petrone was bluffingly convincing in the trousers role of the villainous Sibari - ample-toned, fearless in approach, and whetting one’s appetite for her forthcoming Sesto and Angelina (Cenerentola) in Vienna.
— The Opera Critic, October 2013

Medoro, ORLANDO, Theater an der Wien - Kammeroper ; cond. Ruben Dubrovsky, dir. Stefania Panighini

Among all Gaia Petrone, who gave her deep-rooted alto voice in a natural way to the much sought- after Medoro, showed how the young generation of singers can interpret authentically the 18th century music
— Wiener Zeitung, May 2013
Gaia Petrone knows how to use her mezzosoprano timbre, to outline the character of Medoro in a more than appropriate stylistic way
— Die Presse, May 2013
Gaia Petrone, a mezzo, sang the Medoro. Her voice has a round, rich, velvety sound.
— Der Neue Merker, May 2013

Clarina, LA CAMBIALE DI MATRIMONIO, Theater an der Wien - Kammeroper ; cond. Konstantin Chudovsky, dir. Jacopo Spirei

Gaia Petrone, a natural comedienne as Clarina, impressed with a warm, velvety mezzo.
— Musical America, November 2012
Gaia Petrone shone.
After her performance at the opening concert in mid-October, mezzosoprano Gaia Petrone once again demonstrated the great potential of her voice in the minor role of the servant Clarina (..)
—, October 2012
Gaia Petrone (who caught my attention in the recent Theater an der Wien Il trittico with her imposing stage presence and cultivated mezzo) here demonstrated an appropriate sense of style, vocal culture, and an evident ability to make a cameo out of Mills’ housekeeper, Clarina.
— The Opera Critic, November 2012

Eröffnungskonzert / Jungesensemble, Theater an der Wien - Kammeroper, Gelsomino Rocco: Klavier, Sebastian Schwarz: Moderation 

The mezzosoprano Gaia Petrone revealed, in the brilliantly played Mirteo’s aria from Saverio Mercadante’s “Nitocri”, a huge stage talent
— Wiener Zeitung, October 2012

Tancredi, ERMINIA, TANCREDI, POLIDORO E PASTORE, Centro di Musica Antica Pietà dei Turchini; cond. Marcello Di Lisa, Concerto dé Cavalieri

La Petrone è un mezzosoprano che ammalia per il timbro bellissimo. \ Petrone is a mezzosoprano who charms for her beautiful timbre
— Il giornale della musica, October 2011

Pittura / Alinda, IL NOVELLO GIASONE, Festival della Valle d'Itria; cond. Antonio Greco, dir, Juliette Deschamps

Molto bella, è la voce d’Alinda (Gaia Petrone): musicale e fresca. \ Gaia Petrone as Alinda has a beautiful voice, musical and fresh 

—, August 2011
Gaia Petrone ha brillato in virtù di una interessante voce di mezzosoprano, capace di alternare grave profondo, da contralto, a sonorità sopranili e di sfruttare l’iperbolico chiaroscuro per definire la personalità di Alinda. \ Gaia Petrone emerged for her interesting mezzosoprano voice, able to alternate between contralto deep sound and soprano resonance, and to use hyperbolic chiaroscuro, in order to define Alinda’s personality
—, August 2011
Segnaleremo infine Gaia Petrone, buffa e sfrontata Alinda, magnifico esempio di contralto dalla doppia voce, capace di gravi memorabili e di un registro acuto sopranile, dalla cui alternanza cava effetti sorprendenti. \ Finally we point out Gaia Petrone, funny and shameless Alinda, a magnificent example of contralto gifted with double voice, capable of memorable deep sounds and a soprano upper range, from which alternation she obtains amazing effectcs
— L'Opera, September 2011
Gaia Petrone offers an interesting mezzosoprano voice, with deep contralto sounds and easy high notes
— Magazine Opéra, October 2011